Blink Twice

Director: Zoë Kravitz
Starring: Naomi Ackie, Channing Tatum, Christian Slater, Alia Shawkat, Simon Rex, Adria Arjona, Haley Joel Osment, Liz Carabel, Levon Hawke, Trew Mullen, Geena Davis, Kyle MacLachlan
Running Time: 102 min.
Rating: R

★★½ (out of ★★★★)   

If Knives Out and Jordan Peele had a baby, the result might come close to resembling Zoë Kravitz's Blink Twice, which some might remember had the original working title of Pussy Island. But once the Motion Picture Association got involved and likely told Kravitz her directorial debut would only play in theaters with three X's on the marquee, she gave in. But that's apparently where the compromise ended since its new generic title implies a blandness that couldn't be further from what unfolds onscreen, for better or worse. 

You know you're in for a wild ride when this opens with a trigger warning, but Kravitz definitely takes her time in setting up a premise with enough stylistic flourishes and debauchery to double as Saltburn's distant cousin. Attempting to explore themes of memory and misogyny, the execution is all over the map, complete with a reveal that still somehow feels off despite all the enticing groundwork laid.

When nail artist and cocktail waitress Frida (Naomi Ackie) and her friend Jess (Alia Shawkat) work an event thrown by billionaire tech entrepreneur Slater King (Channing Tatum), Frida strikes up a conversation with the mogul, who invites them both to his private island. Having recently stepped down as his company's CEO amidst an unspecified scandal, Slater has publicly apologized and turned over a new leaf, now dedicating his time to self-help therapy sessions and philanthropic endeavors. 

Upon their arrival, Frida and Jess meet Slater's entourage consisting of photographer Vic (Christian Slater), chef Cody (Simon Rex), personal assistant Stacy (Geena Davis), security head Stan (Chris Costa), DJ Tom (Haley Joel Osment) and hanger-on Lucas (Levon Hawke). Other women joining Frida and Jess as guests are former Survivor contestant Sarah (Adria Arjona), vapid app developer Camilla (Liz Caribel) and stoned out lawyer Heather (Trew Mullen). 

All of them are treated to a relaxing paradise where they're showered with lavish gift bags, expensive perfumes, gourmet meals and hallucinogenics. But while Slater takes a special interest in Frida, Jess  notices mysterious lapses in her memory, suspecting this beautiful getaway is more controlled and cult-like than they initially assumed, Before long, Frida will also become wary of the island's secrets and Slater's intentions, eventually realizing that leaving on her own free will won't be an option.

There are sinister clues and bread crumbs dropped throughout that hint at something darker, but for a good portion of the running time, it's just non-stop partying, eating and doing drugs. When Kravitz does pull the trigger on this plot after much build-up, it comes hard and fast, as if the film's length doesn't give her nearly enough runway to fully explore all the script's ideas.

Spending time with such an eclectic cast isn't exactly a chore, even if their characters are really just pawns in a larger game rather than multi-dimensional personalities to be invested in. Naomi Ackie's versatile performance as Frida is the major exception, as the actress sensitively portrays the insecurity and frustration of someone sick of being invisible. Just Slater acknowledging Frida's existence is a huge deal for her, as the invite and extra attention override the weirdness, obscuring any red flags and Jess's desperate pleas to leave. 

While we know this is all his dangerous power play, Tatum keeps Slater consistent, showing no noticeable changes in either his cool demeanor or oddly detached hospitality. That those outside his inner circle don't look like total idiots for getting sucked into his vortex is a plus, even if the story relies on a clumsily conceived sci-fi device to do it. 

The rest of the performances entertain to varying degrees, with Christian Slater, Simon Rex and Geena Davis leaving strong impressions as King's employees. And after early concerns Hit Man breakout Adria Arjona would be underutilized, her supporting role gains importance as this wears on, further solidifying the actress's rising status with a very different kind of turn here.

Audiences may start to wonder if Slater King stole a copy of Elon Musk's vacation itinerary when  Kravitz tries her hand at a Quentin Tarantino-style female revenge fantasy at the end. She's not half bad at it, though a plot twist involving Frida's connection to the island hardly makes a lick of sense in retrospect. 

Messy and overindulgent, Blink Twice is hard to look away from, but difficult getting a handle on, often coming across as a dark satire that provides only a surface level examination of heavier issues involving gender dynamics, abuse and rape. Luckily, Kravitz is a more compelling director than writer, so even when the narrative gets sloppy, the visuals, editing and performances help its cause. She emerges unscathed, showing the potential to easily surpass this with whatever comes next.