Zoë's feminist Get Out: A review of 'Blink Twice'
At A Glance
- This may not be a perfect film, but Kravitz does display a lot of promise, and I'd love to watch her next directorial film
Beyond the impressive cast assembled for this suspense thriller, Blink Twice can be proud of being the directorial debut of Zoë Kravitz. We last saw her on-screen in 2022’s Kimi of Steven Soderbergh and Matt Reeves’ The Batman, playing opposite Robert Pattinson. So, finding her behind the camera and co-writing the screenplay is a new experience we could look forward to and comment on.
The film’s narrative is dead simple - tech billionaire Slater King (Channing Tatum) has a somewhat dubious reputation, and it’s when he invites two waitress friends that he met during a fundraising gala to his private island resort things go south. Frida (Naomi Ackie) and Jess (Alia Shawkat) are the two friends, and for them, the invitation would seem to be the ultimate exclusive weekend party to be included in - and to be there as guests, not in a working gig. In fact, from early on, it’s established that Frida has a major crush on Slater despite all the evil and unsavory publicity he’s earned.
On the island, along with the two girls, are Sarah (Adria Arjona), a budding starlet who’s done an Amazing Race-type of reality show, two other party girls, and the posse of Slater. This posse would consist of Vic (Christian Slater), Cody, the resident New Age chef (Simon Rex), and Tom (Haley Joel Osment - Yes, the young boy from The Sixth Sense). There’s also a young man explained as some Manager in Training at the firm Slater had initially set up.
For the first hour of the film, Kravitz uses stark images, crisp editing, and vibrant colors to depict this hedonistic island lifestyle—one set in an island villa. Hints of something more sinister afoot are thrown into the mix in a way that sets alarm bells ringing. A majordomo who acts in a cryptic manner, nose bleeds, snakes in the garden—they all convey that there is something rotten in this tropical Eden.
There are no spoilers here, but I can say that this plays like a feminist Get Out, with shades of Midsommar and The Menu. Things are never what they seem, and Kravitz displays a sure hand in tackling the narrative and offering sudden shifts in tone and personality. I have to admit that she does the female characters much better than the men, giving our leading girls a lot of depth and texture.
The men seem to be there more to prove a point and showcase that despite #MeToo, men just parrot saying sorry and are still ready to gaslight, obstruct, and patronize women. Kravitz makes the point that so many women are also ready to forgive and forget and then be surprised when nothing has changed.
This may not be a perfect film, but Kravitz does display a lot of promise, and I’d love to watch her next directorial film. Her storytelling and editing and capacity to go visceral and disturbing are impressive. The film is now showing in cinemas.