Above all else, Blink Twice (formerly known as “Pussy Island”) is a sensory driven experience. Tasting the weed and the alcohol, the smell of the summer air and the sight of a vacation that feels like the first day. Kravitz takes special care of these details; the result doesn’t feel anonymously directed, but lived in. Specifically, the quality is not of a firsthand experience, but the cheeky tone talks to us. Even though the film is being sold as in the vein of Knives Out, there’s less commentary on Kravitz’ mind; rather, it reveals something that was already suspect. It’s a contemporary-set test of whether social dynamics will ever really change, no matter how much we want to convince ourselves they can.  

But the most fun Kravitz is having is in how she knows that we know this is all deeply creepy, including the initial set up. Its not a matter of if the shit hits the fan, but when, and the pace at which it will be revealed that’s most compelling and cheeky. After Frida (Naomi Ackie) is courted to joining Slater King (Channing Tatum) for a vacation in one of his many private islands with her friend Jess (Alia Shawkat), they soon discover other guests (Haley Joel Osment, Simon Rex, Adria Arjona) who never seem to think the vibe is off. Even so, its fine; there’s that specific perspective anxiety conveyed here with the Ackie character in the scenario if its all in your head or actually some cult like behavior.  

For me, small and large details lend this feeling some credence. Of the tech billionaire portrayals of recent memory, the timing of Slater King being kind of dumb at being rich is coming at the expense of a downfall or further interrogating this guy. Like the recent collapse of Mr. Beast or Michael Rubin’s white-out party on the Fourth of July, that is about the most uncool thing you’ve ever seen (even more so considering everyone’s white linen clothes worn in the film). It’s a tone that the ultra-rich seem comfortable with of this laid back, chill intelligence that what’s theirs is yours, but what they have is entirely self-indulgent. Kravitz seems to get a kick out of these kinds of guys, not without an objective place to critique the wealthy but how the supervision is ridiculous. All while vindicating Frida, this paradise island doesn’t last even since we are far past too good to be true.  

I’ve taken an interest in reviewing actor-turned-director movies, and it has been fun both to see if the actor has craft and why they wanted to make the movie in the first place. Kravitz has always had this chill, laid back on screen persona, with an intelligence lent to her characters’ struggle. I’d go as far as to say specifically this is a kind of movie her character from High Fidelity (RIP) would be into. Kravitz and co-writer E.T. Feigenbaum land the plane regarding the third act, though not without some turbulence. There’s an urge to bring out the profundity where it wouldn’t ordinarily be found in a mystery-thriller like Blink Twice crystallized into. Maybe it’s all because of seeing Trap recently, but it would’ve been nice to have this stick with being a genre exercise. Arriving at a poetic ending and some well-done jokes, Kravitz is an exciting director with a knowing sense of humor.  

Blink Twice
2024
dir. Zoe Kravitz
102 min.

Opens Friday, 8/16 in theaters everywhere