20 Aug REVIEW – ‘Blink Twice’ is a tense, disturbing, darkly funny, and twist-filled nail-biter

There is always trepidation when an actor transitions into the director’s chair. That apprehension only rises when that actor is also responsible for co-writing the screenplay. With the tense, disturbing, darkly funny, and twist-filled nail-biter Blink Twice, Zoë Kravitz deftly proves she’s both a writer and director worth watching and one with a sharp vision and something pertinent to say.

Shrewdly influenced by Jordan Peele’s Get Out, the #MeToo movement, and the horrors of what went down on Jeffrey Epstein’s island, Kravitz delivers an unnerving psychological thriller that will keep you on the edge of your seat. Aided by a smashing lead performance from Naomi Ackie and an unsettling Channing Tatum playing completely against type, it’s a terrific little surprise package that packs a big punch.

Ackie plays Frida, a cocktail waitress and wannabe nail artist coasting through life with her best pal, Jess (Alia Shawkat). The two friends think they’ve hit the jackpot when they score a gig working at the fancy fundraising gala of Slater King (Tatum), a disgraced tech mogul currently on a public apology media blitz after allegations of his “abuse of power” forced him to step down from running his company, KingTech.

Given Slater’s handsome looks and infinite charisma, those allegations don’t seem to faze Frida one little bit to the point she dons a gown and crashes the party after her shift in the hopes of meeting her crush. Fate is on the waitress’ side and the pair soon have a chance encounter that leads to Slater inviting Frida and Jess to join him and his party of friends (and groupies) on a jet to his paradisiacal private island.

With its ostensibly endless supply of boozy drinks, fancy food, and mind-altering drugs, Slater’s island seems like heaven at first. But after numerous days of total overindulgence, Frida and Jess realise they have no idea what day it is and struggle to remember the specifics of what occurred the night before. When other peculiarities occur, they begin to suspect this island isn’t all it seems and their decision to join this once-perfect holiday could have dire consequences for them both.

Co-written with E.T. Feigenbaum, Kravitz originally bitingly titled the film Pussy Island. It’s a damn shame we’re not seeing that provocative title splashed all over billboards and bus stop advertisements. Naturally, it had to be sacrificed for the more palatable Blink Twice (as in the saying “blink twice if you’re in danger”) to avoid the inevitable pearl-clutching that would follow. It’s a backstory with a dash of irony, given Kravitz is keenly intent on offering a film that has much to say about what it means to be a woman in a man’s world.

That’s likely to lead to plenty of eye-rolling from certain members of the public and media. You can already hear the Fox News think pieces on this one. Still, Kravitz is wise enough to get her message across without feeling preachy or sanctimonious. It’s hard to discuss her intentions without spoiling the twists along this dark path, but it’s a sharp screenplay that tackles ideas of class warfare, sociopathic coercion, social media deception, and domestic violence with impressive guile.

Much like her spiritual predecessor Peele, it’s hugely impressive to see Kravitz successfully blend societal commentary into a tension-filled horror in just her first feature film. The way in which she carefully reveals the dark nature of Blink Twice is a marvel to behold. The truth may not be inherently unforeseeable, but it’s no less shocking when it arrives, particularly the genuinely brutal and graphic finale that’s somehow both deeply uncomfortable and yet enormously gratifying.

Crisply edited by Kathryn J. Schubert, Kravitz utilises flashbacks and quick cuts to offer glimpses of what Slater and his crew of cronies are really up to. It keeps her audience feeling that rising sense of dread and palpable tension that plays with your senses as only the best thrillers can. But it’s Kravitz’s keen use of sharp and intentionally amplified sound design that really twists the knife in. Every innocuous noise takes on a life of its own and only intensifies the discernible suspense of the narrative.

In another impressive leading performance, Ackie shines as the immediately endearing Frida who could easily have been nothing more than a doe-eyed damsel in distress. Sure, she’s a touch naive to accept an invite to a secluded island by a total stranger, but, hey, would many of us really say no to such an offer? But Ackie imbues Frida with impressive strength and intelligence that will make her a formidable opponent later in the piece. Hell hath no fury like a woman who’s been manipulated and y’all better look out when Frida comes for her revenge.

Taking his cue from the endless parade of charismatic businessmen whose charm and earnestness are nothing but performance art, Tatum delivers one of his best film performances to date. Again, it’s difficult to discuss his performance without ruining the experience for you. Let’s just say the way he skillfully tip-toes the line between sweet and sinister is hugely impressive and something we’ve never seen from Tatum before. It’s a character who could easily fall into melodrama, but Tatum never loses control of his tight and effective turn.

Kravitz assembles a solid supporting cast to bolster Ackie and Tatum including Simon Rex as Cody, Haley Joel Osment as Tom, Christian Slater as Vic, and Levon Hawke (as in brother of Maya and son of Ethan and Uma) as Slater’s greasy group of hangers-on. Geena Davis is perfectly cast as Slater’s purportedly clueless assistant, while Kyle MacLachlan is unnervingly creepy as the billionaire’s therapist. They’re not exactly the most fully-dimensional characters, but each ultimately serves as a very intentional piece in Kravitz’s jagged puzzle.

But it’s Adria Arjona who almost steals the entire film as Cody’s date, Sarah. A former reality show contestant who seems to have eyes for Slater, it initially appears she’s nothing more than brainless eye candy who is growing jealous of Frida’s place at the playboy’s side. But there’s much more to this fiery hothead than meets the eye, especially in the third act. When Frida and Sarah finally combine forces, Ackie and Arjona become one of the year’s most spectacular pairings. Please cast them in something together again.

For a film that deals with some deeply heavy topics, Kravitz smartly drops in plenty of darkly comedic levity to cut the bleakness. It ultimately creates a fascinating viewing experience that’s as rage-inducing and nerve-shredding as it is giddily entertaining, especially with everything wrapping up in just an hour and 40 minutes. There’s an intoxicating energy to Blink Twice that doesn’t come along every day. It’s a thriller that will have you shrieking in terror as much as chuckling with laughter and cheering for a ballsy screen heroine. Kravitz sticks the landing and announces herself as a filmmaker with a bright future.

Distributor: Universal Pictures
Cast: Naomi Ackie, Channing Tatum, Christian Slater, Simon Rex, Adria Arjona, Kyle MacLachlan, Haley Joel Osment, Geena Davis, Alia Shawkat 
Director: Zoë Kravitz
Producers: Bruce Cohen, Tiffany Persons, Garret Levitz, Zoë Kravitz, Channing Tatum 
Screenplay: Zoë Kravitz, E.T. Feigenbaum 
Cinematography: Adam Newport-Berra
Production Design: Roberto Bonelli
Costume Design: Kiersten Hargroder
Editor: Kathryn J. Schubert
Music: Chanda Dancy 
Running Time: 102 minutes
Release Date: 22nd August 2024 (Australia)