BLINK TWICE - Mark Reviews Movies

Blink Twice, Amazon MGM Studios

Follow on Facebook | Follow on Twitter | Become a Patron

Review by Mark Dujsik | August 23, 2024

Zoë Kravitz shows herself to be a surprisingly confident filmmaker with her debut Blink Twice. The story here is a competent and uneasy, albeit unfortunately repetitive, mystery about the strange goings-on at a billionaire's private island, but the movie really comes to life after the revelation of what's happening there—even if the shock is slightly undermined by a content warning that appears at the very top. The impact, though, is less about what's going on and more about the bold choices of tone, editing, and sound design Kravitz brings to the extended climax.

That resolution is all about catharsis, and if the enigmatic build-up to those moments doesn't fully establish the emotional need for it within the story, the effect of its style and momentum almost tricks us into thinking the movie has earned this particular payoff. That's a noteworthy accomplishment for Kravitz as a director, although the shortcomings can be placed entirely on her and E.T. Feigenbaum's screenplay.

The setup follows Frida (Naomi Ackie), a caterer who lives in a mold-infested apartment with her roommate/best friend/co-worker Jess (Alia Shawkat). Going through videos on her social media feed, Frida stops to watch one with undivided attention. It's an interview with wealthy tech magnate Slater King (Channing Tatum), who has returned to the public spotlight following a series of controversies involving "inappropriate behavior" and other vaguely worded transgressions.

He proclaims that he has learned his lesson and changed his ways by way of therapy, and if the look on Frida's face is any indication, she at least is buying the apology and rehabilitation. It certainly helps that Slater is played by Tatum, one of those impossibly handsome actors who can ooze charm without even trying. His performance here takes full advantage of those qualities, which definitely strike a chord with Frida, and subtly subverts them with increasing candor as the story progresses.

As for Frida and Jess, they're catering a swanky event for Slater's recently formed charitable organization, and Frida isn't content to catch faraway looks at the business tycoon from behind. She has brought dresses for herself and Jess, allowing them to sneak into Slater's inner circle. Frida already has a thing for him, and after Slater helps her with a broken high heel, he seems to develop an instant attraction to her.

They talk some, and when the night winds down and it's time for Slater to fly off to his island with his friends and business associates, he rushes back to invite Frida and Jess to join his entourage. There's almost no hesitation in accepting the offer.

Everything seems fine upon the group's arrival—more than that, even, which is a good sign that something is almost certainly wrong with the place, the company, or both. Slater is a welcoming and accommodating host, providing his guests with anything they might want or need, from perfume to matching white bikinis and dresses for all of the women who have joined him and his entourage. Cody (Simon Rex) provides the freshly prepared meals. Vic (Christian Slater) offers games of chess and some evasion about how he lost his pinky finger, and Tom (Haley Joel Osment) always seems to ready to party.

Of the women apart from Frida and Jess, the most prominent one is Sarah (Adria Arjona), a long-time contestant on a reality TV show that required survival in the wild. While the other women relax and drink and indulge in assorted drugs, Sarah has her eyes on Slater, too, and jealous stares to direct at Frida.

With all of these dynamics in place, Kravitz and Feigenbaum don't seem particularly interested in them. Instead, we're treated to a string of scenes and montages showing the group chatting, swimming in and sunbathing by the pool, sharing meals together, and, when night falls, dancing and running around without much of a purpose.

The pattern is the point, of course, as Frida realizes she's losing track of time—what day it is and how long she has been on the island. There are subtle hints, such as Jess never knowing who has her lighter in the morning, and insinuations, such as one of the workers seems to be giving Frida a message she doesn't comprehend, and omens, such as venomous snakes that Slater is attempting to exterminate. It all comes together eventually, but the aura of a good time gradually turning toward something sinister overwhelms the sense of anything else for a while, either in terms of these characters or whatever satirical aims might be beneath the surface.

The third act, though, is such a huge swing that it almost makes us forget the script's lengthy foray into delaying and misdirection tactics. The puzzle of what's happening here will be preserved, of course, partially because it's oddly convoluted for something so straightforwardly atrocious. Mostly, though, Kravitz's technique is more engaging than the answer, as she blends suspense, scares, violence, and—at times, questionably—humor as the visitors figure out more and more of the mystery, finally deciding to do something about it—quite decisively, too.

Some of this ambition stumbles, especially as jokes precede and follow rather sinister moments, but Kravtiz's voice and formal command remain strong through the finale. Blink Twice, then, is a commendable but unsuccessful first effort from a director who announces herself as one to watch.

Back to Home

Buy Related Products