Blink Twice (2024) | REVIEW

Directed by Zoë Kravitz — Screenplay by Zoë Kravitz and E.T. Feigenbaum.

When I saw the directorial feature debut from actress-turned-filmmaker Zoë Kravitz, Blink Twice, the other night, the very last thing on the movie theater screen prior to the film starting was a relatively long statement meant to function as a trigger warning for the audience to prepare them for the potentially distressing themes and violence discussed and depicted in the film. Before I had sat down to watch the film, I had noticed that said trigger warning had gone viral on social media for how rare it is for a new release to feature such a warning in addition to the MPA rating. It’s certainly a modern addition, which is befitting of this film, as it is a very modern #MeToo-psychological thriller that mixes elements from so many recent films, such as Olivia Wilde’s Don’t Worry Darling, Jordan Peele’s Get Out, and, perhaps even, Rian Johnson’s Glass Onion. Though I, ultimately, thought the film was a relatively good directorial debut, I only really feel that it is as good or better than the first of those three films, with it not really holding a candle to the remaining two. 

Zoë Kravitz’s Blink Twice follows Frida (played by Naomi Ackie) and Jess (played by Alia Shawkat), two best friends and daring cocktail waitresses, who, while working an exclusive event, encounter and befriend the recently canceled billionaire tech mogul Slater King (played by Channing Tatum). King is particularly interested in Frida, and so, as he is about to leave the event, he extends an impromptu invitation for them both to join him, his group of friends, as well as some other women, on his private island. The exotic island and once-in-a-lifetime opportunity is something that Frida and Jess decide that they cannot turn down, so they board the private jet and go to the island. Once there, their phones are confiscated, they’re given matching outfits, and they get a luxurious holiday experience. Or so it seems because, eventually, Frida starts to notice that something is off. On the mornings after each party night, she struggles to remember what happened, and certain signs indicate that something isn’t quite right. Is this billionaire island invitation too good to be true?

It was always obvious what real-life stories Kravitz and co-writer E.T. Feigenbaum had in mind when they envisioned this story. This film, which was originally titled Pussy Island, isn’t trying to be subtle about how it is a modern #MeToo film about star cancellations, sexual violence, and abuse of power — after all, not only was that more or less made explicit by the aforementioned trigger warning, but it was also immediately evident in the promotional material. It’ll make you think about the many men who have been ‘canceled’ in the wake of #MeToo, and it functions as a #MeToo eat-the-rich film or a revenge fantasy thriller. Although there are times when it feels like a very twisty film (there are some curious setups that receive decent a-ha payoff moments), the central reveal is quite obvious and it thus shouldn’t really be approached from a Shyamalan-esque angle. You likely know what’s coming.

So, how does first-time feature director Zoë Kravitz pull it off? Relatively well, I’d say. Admittedly, I thought the pacing of the first half was wonky, with certain scenes needing more breathing room, and the initial moments on the private island may not go as over-the-top party mode as you may expect, but, then around the halfway point, the film really livens up when one character is allowed to be more than merely jealous. And, boy, then it really starts kicking into high gear. Although this second half can be tonally quite whiplash-inducing because of its use of nervous behavior executed in a somewhat comedic manner, while what is going on is straight out of a horror movie about abuse against women, both the horrific and the nervous moments of comedy work, I feel, as two of the women on the island have to pretend as if they don’t really know what is going on.

I do, however, think that the first half has some issues concerning setting the tone, with it sometimes including cheap jump-scares and a certain sound or hum that plays whenever the film is trying to convince you something is supposed to be threatening or weird. It feels a little bit exaggerated like they’re concerned you won’t get that it’s supposed to be strange. This effort to hit you over the head with the psychological thriller elements is one of the only things in the film, though, that felt unconfident. The film looks gorgeous (props to cinematographer Adam Newport-Berra!), as it features especially vibrant colors on the island and some decent editing choices (including a neat title card delivery). I also think that Kravitz gets some good performances out of her main cast, including her husband Channing Tatum.

Though Ackie and Shawkat are both good and entertaining to watch in the film, theirs aren’t the most memorable performances. Tatum’s performance is, however, quite memorable. Though he is mostly known for his leading man roles, or his always quite memorable comedic supporting appearances, Tatum is here given a chance to do something different, and this opportunity to play against type reminded me of Chris Hemsworth’s entertaining performance in Bad Times at the El Royale. In Blink Twice, Tatum gets to play two different modes with his character both of which he pulls off quite well. He is essentially playing a charming too-good-to-be-true rich boy, but he also gets to play a more sinister aspect of his character, which he is equally effective and believable as. In addition to Tatum, Ackie, and Shawkat, the film’s cast also includes notable appearances from Christian Slater, Simon Rex, Haley Joel Osment, Geena Davis, Kyle MacLachlan, Levon Hawke, and Adria Arjona, and we have to talk about Arjona. Initially, her character — a reality TV star who, like Frida, wants King’s attention — feels like a cliche, but her character’s awakening around the halfway mark gives the film its pivotal jolt of energy. Arjona is equally good at landing the serious, dramatic scenes as she is with the more nervous energy that sometimes is played for laughs. Arjona is the film’s secret weapon.

On the whole, although it is perhaps slightly uneven and has notable warts, Blink Twice is a solid and relatively promising start to Zoë Kravitz’s career as a feature director. It is an effective revenge fantasy that feels modern and features good performances, strong visuals, and a thoroughly gripping second half that makes bold choices that I think will challenge some viewers. Despite having some social commentary to it, I don’t think it has as much to say as other notable films like it. That said, its violence packs a punch, certain scenes tap into a horror and a rage that the film puts to effective use, and, although some may struggle with the tonal shifts, I think there are several moments where Kravitz attempts to infuse a nervous, absurd, or darkly comedic energy into the film that works well enough. I’ll be very interested to see what she does next.

7 out of 10

– Review Written by Jeffrey Rex Bertelsen.