Somewhere between Get Out and Don’t Worry Darling exists Blink Twice, the directorial debut of Zoë Kravitz, who also co-wrote the script. Originally titled Pussy Island, this fun, derivative thriller takes its new title from an early scene in which our protagonists asks a resident therapist to “blink twice if I’m in danger.” It’s a reference to one of many secret codes that exist in a world where women are so frequently victimized by the primal urges of men. Ever heard of an “angel shot?” Ask your next bartender about it. If they follow the angel shot policy, you’re in good shape.
And if someone has ever ordered an angel shot in front of you, you’re probably a monster. Look inward.
Here the titular line is spoken in jest by Frida (Naomi Ackie), a server who, along with her friend Jess (Alia Shawkat) have managed to turn a high-profile catering gig into an invite to the private island of billionaire tech mogul Slater King (Channing Tatum). He’s fresh off of an apology tour after some sort of public malfeasance — no specifics are offered, but the air of #MeToo is abound. To Frida, it seems that Slater has learned his lesson and is doing his best to be a better man. He has a therapist (Kyle Maclachlan), a bunch of business partners (including a hilariously forthright Christian Slater), and even a female assistant (Geena Davis). Frida is far from the only young woman on the island, so strength in numbers can be assumed. It would appear, on the surface, that when it comes to being the object of Slater’s affections, Frida is in good hands.
Days on the island are spent drinking and getting high by the pool, while nights are spent meditating, dancing, eating magic mushrooms, and indulging in the culinary delights of Slater’s private chef (Simon Rex, perhaps the only man in Hollywood who can play a role that requires him to have a tampon in his nose for most of the film). But soon after the festivities begin, things seem a bit too good to be true — suspiciously good. And needless to say that if everything were hunky dory, there wouldn’t be a movie.
It’s a generally compelling story, filled with enough situational peculiarities to keep the audience guessing, punctuated by some truly horrifying and effective bits of violence. This isn’t to say that much of what happens is surprising — it doesn’t really go anywhere you aren’t expecting — but the fun is in the journey, and it’s a journey overflowing with sharp, dark comedy. It’s this humorous streak that proves to be film’s most exciting and memorable aspect. Once you know the why of it all, the story crumbles a bit under its ambition, but the tone remains strong and consistent. The dark comedy meshes well with the exceptionally pitch black catharsis of the final act, and even though the script (co-written by E.T. Feigenbaum) doesn’t seem to recognize that it’s borrowing from a wealth of recent socially-minded horror thrillers, it’s not the conclusion that sticks in one’s memory — it’s the journey. And for the bulk of the picture the journey is a good one.
Kravitz shows a strong directorial hand. This isn’t just some celebrity “put my name on it” job. Kravitz has executed a vision and done so with style and functionality. There’s a strong sense of scene geography, which is used to maximize tension and even serve up comedic punchlines. These elements are also found in the edit. More than one cutaway to a reaction shot elicited laughter from the crowd — a further indication of how much cinematic intention Kravitz puts on display. The choice to heighten the sound effects (vape pens are very audible, as is Geena Davis’ comically chunky costume jewelry) is odd on paper, but pays off in execution, again creating both tension and comedy.
Tatum, as is expected, steals the show. I won’t spoil, but he delivers a pretty intense monologue that left me feeling queasy. I don’t know why I tend to forget how talented he is, but my consolation prize is that every time he crushes a role I get to think to myself “who knew that this Tatum kid was more than just a pretty face?”
Sometimes biases can be fun, I guess.
For all its style and general effectiveness (and its game cast and INCREDIBLE soundtrack), Blink Twice does fall victim to its ambitions. There’s a hefty social commentary to be made here, and while it does indeed come across, the derivative nature of the script gives much of it a “been there, done that” feel that I found deflating at times. The script is so busy explaining how things work at the formerly titular island that it fails to fully marry these plot elements to the thematic material. There’s a tighter version of this script that feels just a rewrite or two away. That said, the film has a shaggy charm to it that makes it easy to like, even if there are a handful of missed opportunities. But as far as late-summer thrillers go, this is top tier stuff. And as a calling card for Zoë Kravitz’s (hopefully) burgeoning directorial career, it’s a home run.
Directed by Zoë Kravitz
Written by Zoë Kravitz, E.T. Feigenbaum
Starring Naomi Ackie, Alia Shawkat, Adria Arjona, Simon Rex
Rated R, 103 minutes
