Review: ‘Blink Twice’ plunges us into a potent fantasy island with a dark side that’s less clear

As a seasoned film enthusiast with over three decades of cinematic experiences under my belt, I must say that Zoë Kravitz’s directorial debut, “Blink Twice,” is a bold and daring entry into the world of horror-comedy. The film’s unapologetic approach to social commentary on sexual politics, while reminiscent of Jordan Peele’s “Get Out,” offers a fresh perspective that sets it apart from its predecessors.

In her groundbreaking directorial premiere titled “Blink Twice”, actress-turned-writer-director Zoë Kravitz fearlessly holds her ground, unwavering in her resolve, even when the story might benefit from turning away. She maintains a firm and resolute stance throughout this biting social-horror tale infused with dark humor, echoing elements of Jordan Peele’s “Get Out”, but Kravitz primarily uses her artistic arsenal to tackle sexual politics rather than race. Collaborating with E.T. Feigenbaum, “Blink Twice” represents a daring and audacious attempt, although the message may lose clarity as the story progresses. It’s evident that Kravitz intends to convey a powerful message through this film; however, the specific nature of that message remains somewhat unclear.

In the opening scene, I find myself staring blankly at a grimy bathroom mirror, lost in the digital world of Instagram on my phone, while my roommate Jess (Alia Shawkat) and I prepare to dash off to a glamorous gala hosted by the enigmatic tech tycoon, Slater King (Channing Tatum). The event, tainted by scandal, offers us an opportunity to serve champagne and hors d’oeuvres amidst the affluent crowd. As we blend into the background, clad in elegant gowns, we are effortlessly welcomed into the exclusive world of the wealthy elite, a world that has always been receptive to young, beautiful women like us. The prospect of jetting off to Slater’s private island with his companions stirs dreams of a well-deserved vacation within me.

Kravitz skillfully depicts the opulent surroundings in “Blink Twice”, creating an absurd comedy of social norms as the cast, consisting of men (Tatum, Simon Rex, Haley Joel Osment, Levon Hawke, and Christian Slater) and women (Ackie, Shawkat, Adria Arjona, Liz Caribel, and Trew Mullen), arrive at Slater’s secluded estate nestled in a lush tropical forest. Dressed in coordinating white swimsuits and resort attire, the women are treated to top-shelf wine, gourmet cuisine, and premium substances. The extravagance of the location and its amenities is beyond reproach, but Kravitz portrays this world with a disturbing, unnerving intensity that highlights its surreal nature.

In the film “Blink Twice,” the atmosphere is deliberately disorienting. The stylistic choices are harsh, bordering on uncomfortable, much like sandpaper against the eyes. Unconventional camera angles and a rough flow characterize the piece, with moments missing from scenes, sometimes for seconds or even minutes, thanks to the creative work of Kravitz and editor Kathryn J. Schubert. The cinematographer, Adam Newport-Berra, uses overly saturated images that are excessively bright, giving them a near blinding clarity and sharpness. Similarly, the sound design is too loud and crisp, making the otherwise picturesque setting nearly unbearable to experience.

Absolutely, something’s amiss. It’s a harsh realization that despite possessing all the luxuries, one can still encounter hardships. Jess eventually comes to terms with this, following a series of sleepless nights filled with frivolous activities, the women running wild on the lawn under the influence of psychedelics after dull meals with men. They lack communication devices, the days blur together, and strange injuries keep surfacing. When Jess disappears and no one seems to recall her presence, it falls upon Frida to navigate through the haze and discover what befell her dearest friend.

In a blend of social critique and dark humor, Kravitz masterfully sets the scene, but when the story transitions into a horrifying thriller, her directorial touch stumbles slightly. There are some striking visuals and references to her influences, yet the build-up of tension and her knack for orchestrating suspenseful sequences seem absent. She fearlessly exposes the grim reality at the heart of her narrative (best left for viewers to discover), but Kravitz underestimates the subtle art of concealing and revealing that is crucial in effective horror storytelling. Unfortunately, she reveals the monster too clearly, neglecting the fact that what remains hidden can be far more terrifying than what’s shown.

As a film enthusiast, I must admit that “Blink Twice” isn’t without its imperfections. Yet, the director’s unique, daring aesthetic choices are undeniably refreshing and vibrant, even if the narrative is somewhat marred by ideas that seem simplistic or far-fetched. Regardless, it’s a commendable debut, particularly for drawing out remarkable performances from Ackie, Arjona, and most notably, Tatum. His subtle, smoldering menace simmers to an impressive boil throughout the film.

Despite Kravitz’s attempts, the movie doesn’t clearly convey its intentions regarding sex, power, and revenge. A bitter ending undermines any potential messages of empowerment that could have arisen naturally from the storyline. Balancing indignant anger, witty humor, and a defiant “girl power” narrative is a formidable task (one that’s unclear if she aims to accomplish — it remains uncertain). The film lacks substance, failing to leave a lasting impression or impart any significance. Whether this emptiness serves a purpose is questionable, but the feeling it leaves behind isn’t pleasant.

Walsh is a Tribune News Service film critic.

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2024-08-22 20:31