At the blink of an eye, with her first feature film, Zoë Kravitz has come onto the directing scene with style and substance. Her wildly entertaining and twisted thriller, Blink Twice, is equal parts disturbing and funny, a winning combo for a refresh on familiar themes related to trauma and gender dynamics. Kravitz co-wrote the script with E. T. Feigenbaum, and the two make bold statements about what it means to be a woman living in a twisted world. The priority here is to entertain, first and foremost. Leaving behind any preachy commentary, Kravitz and company are successful in delivering a bold and creative experience that results in something truly special.
Naomi Ackie stars as Frida, a meek cocktail waitress who has felt invisible for a long time. In between painting her nails with impressive designs or underperforming at work, she tries to convince her free-spirited best friend, Jess (Alia Shawkat), from going back to her unworthy ex-boyfriend. Feigenbaum and Kravitz introduce the irony of this early on, as we see Frida fixate on billionaire, party-boy, Slater King (Channing Tatum). He’s currently on a long, apology tour after seeking therapy for abusing his power. Though we never find out what he did, Frida is impressed by Slater and believes he has put in the work to become better.
Genre-blending elevates Blink Twice‘s entertainment factor and will keep you glued to the screen.
Frida will get her chance to see if this holds up, as one run-in with Slater at his fundraising gala opens up a window of opportunity to visibility and confidence. He invites Frida and Jess to his private island to join in on the festivities including high end meals, drugs, and endless drinking and partying. Accompanying them on the trip are his friends Cody (Simon Rex), Sarah (Adria Arjona), Tom (Haley Joel Osment), Heather (Trew Mullen), Lucas (Levon Hawke), and Camilla (Liz Caribel), who are equally enthusiastic for the events to come. This is their chance to spend time with everyone’s favorite billionaire, with zero worries about past traumas and fewer consequences. What could possibly go wrong?
Things on Slater’s remote, tropical island are fantastic, and Frida’s dream comes true. But we, the audience, know better. Kravitz, catering to the intelligence of viewers, doesn’t hold back on laying out various clues that something will go wrong, indeed. Everyone gets provided white clothing upon arrival, phones are locked away for safe keeping, Slater provides intriguing perfume for the ladies to wear, and even the staff casts strange glances upon Slater’s guests. These creepy happenings facilitate the thick suspense that Kravitz lays out for us. Taking these elements into account with Kravitz’s vibrant direction and the intriguing dialogue, the storytelling in Blink Twice teeters on the lines of a mysterious thriller and horror.
Zoë Kravitz’s uses creativity and intensity in her sharp direction.
The most striking turning point of Blink Twice comes when Shawkat’s Jess shares concerns about her discomfort on the island and urges Frida to consider going home with her. Pleading for them to stay, Frida explains that for once in her life, she finally feels seen. This conversation between two friends brings up fascinating commentary about our need to fit in. Jess, who typically walks to the beat of her own drum, is more aware of the potential dangers that surround them because she doesn’t need outside validation. Frida, on the other hand, has longed to belong, so much that it inhibits her from seeing the truth. It’s almost as if the script is directing us towards trying to understand why Slater chose Frida to go on this escapade.
In due time, Kravitz plays her cards and reveals the chaos behind the ongoing creepiness and blackouts that seemingly cannot be avoided. Slater’s frequent question of “are you having a great time” and everyone’s incessant smiling and agreeability begin to render this script downright shocking once we peel back the layers of its trickery. To pair with the psychological churn, Kravitz’s direction is sharp and intense, drawing your eye to focus on the clues right in front of you, while Adam Newport-Berra’s cinematography reminds us that pleasant environments are not always what they seem, no matter how picturesque. With confidence and style, this 102-minute thriller reels you in with its creativity, commentary, and intensity from beginning to end.
The film’s ambitious ending is well-executed.
Just when you think Blink Twice couldn’t possibly get more mind-blowing, Kravitz turns up the heat for the final 20 minutes of her thriller. Up until this point, there have been frequent, but small expositions about past traumas and gender dynamics, but in this third act, the script enables the characters to let loose and explore those fully through action. The performances are so great throughout, but in these final scenes, Ackie and Arjona put on special acting showcases. The final moments are, indeed, some of the most satisfying, even if overly ambitious. This nail-biting mystery comes to a close in empowerment and style. Kravitz doesn’t just stick the landing, she leaves us begging for more.
Blink Twice releases in theatres on August 23.
