Making her directorial debut with a project that has been in the works since 2017, Zoe Kravitz transitions from in front of to behind the camera for Blink Twice, an original psychological thriller she has directed, co-written and co-produced. When cocktail waitresses Frida and her friend Jess are invited to a luxurious private island by tech billionaire Slater King after a chance meeting, the vacation of a lifetime soon becomes what nightmares are made of when she's forced to question her own reality. Starring an impressive ensemble cast including Naomi Ackie, Channing Tatum, Christian Slater, Simon Rex, Adria Arjona and Geena Davis, Blink Twice takes a giant swing, but does it follow through on its potential?
Any project dealing with such a delicate subject matter - one that, in a rather unusual turn places a trigger warning before the film has started - is an undoubtedly ambitious undertaking, no less for a director making their debut in a given medium. But from the offset, Kravitz announces herself as a creative force unafraid to poach bold and brave ideas, attempting - and in many ways succeeding - to craft a film as confidently layered as her most impressive acting performances. Alongside cinematographer Adam Newport-Berra, who supports the crafting of a visually stylish, sophisticated and striking picture that plays into the supposed idyll before pulling the rug to reveal a far darker and violent interior, and editor Kathryn J. Schubert, who cultivates an unnerving atmosphere with its rapid, meticulous scene structure to prod and poke reality and realisation, Blink Twice is a commendably crafted piece.
With a game and exciting cast at its disposal, the talent that has been attracted to Blink Twice is surely a positive reflection of the respect levelled towards its creator. Naomi Ackie leads the pack with a strong, grounding performance: one that steadies the viewer through the purposely disorientating build-up and cathartic climax. Opposite Adria Arjona, who emerges as Blink Twice's MPV, the pair's fascinating exploration of the discovery and realisation of abuse, as well as subsequent reclamation of self and ownership, is supremely powerful, and where the story shines brightest. Ackie and Arjona represent the very heart of the story and their performances are perfectly dialled at each stage to respond to the evolving tone. Channing Tatum is very impressive too, playing the charming host while attempting to offset the obvious character arc. Sadly, as is the case with most ensembles, a handful of them are underused, most notably Levon Hawke and Geena Davis; both playing characters with fascinating arcs that are never explored with the depth and insight that would set this tale apart from its genre stablemates.
It's somewhat disappointing that the screenplay underwhelms as it does. While constantly intriguing, Blink Twice is never particularly surprising, with its themes signposted, the general arc clear as day and even the punchlines seemingly almost rehearsed beforehand. If there is a shock to be had, it is because of the vitality of its director's voice, with the writing demonstrating a lapse in creativity that the film is relying on to land with the emotional thud it should. Add this to the underdeveloped plot strands (again, Hawke and Davis hold the key to unlocking these) and it feels like the Kravitz who wrote the screenplay in 2017 was unaware of how great a director she could be when the film came to enter production in 2022 and sold herself short.
It is exactly that seven-year journey to the screen that massively dilutes Blink Twice's potency. If this launched in 2017 when the script was being written, this film’s intriguing exploration of the abuse of power, a primal need for control and the exploitation of gender expectation would be a far more enthralling concept than arriving in the shadows of several films that have considered similar themes - and often executed them with sharper precision. Whether or not the film has intentionally borrowed elements from films like Ready Or Not, The Menu, Midsommar, Get Out, Promising Young Woman and Don’t Worry Darling, its similarity in narrative beats and thematic familiarity also pronounces its deficiencies. Greater creativity would have helped elevate Blink Twice beyond the shadows it is now forced to live in.
Blink Twice is a bold, admirable if flawed effort that nevertheless announces actor-turned-all-rounder Zoe Kravitz as a force of nature. Particularly as a director, Kravitz excels with an uncompromising vision which is solidified by the level of talent she has surrounded herself with both in front of and behind the camera. In concept, she has armed herself with a vital and charged idea which lets itself down with a lack of narrative creativity and the sense that it is arriving too late to the cultural conversation to be making the impact a film like this is required to. Still, it's far more promising that an artist has taken too big a swing with a debut than simply taken the route of less resistance, with Blink Twice standing Kravitz in good stead as she forges forward in these new filmmaking avenues.