Zoë Kravitz’s Electrifying ‘BLINK TWICE’ Delivers Deadly Thrills

Tech billionaire Slater King (Channing Tatum) is in the midst of a rebrand. A year after an undisclosed incident sparked a public apology tour, he’s turned over a new leaf, diving into philanthropic efforts while secluding himself on a mysterious remote island. His claims of reform are complicated by rumors of debauchery—all-night parties, sketchy associates, an on-hand pharmacy of designer drugs. This does little to deter the eager Frida (Naomi Ackie), a jejune cocktail waitress working the gala his company KingTech is hosting. Frida may still be figuring things out, but one thing is certain—brushing shoulders with Slater, if only for the night, would be a memory worth making.

Frida all but throws herself at the controversial Slater, and alongside her best friend Jess (Alia Shawkat), worms her way into his inner circle for the evening. Later, they find themselves—alongside a menagerie of other characters—invited to Slater’s private island for an undisclosed stretch of hard partying where the only prescient question becomes, “Are you having enough fun?”

Long nights blur into lazy days, memories lapsing like a skipping record. The veneer of a picturesque, carefree retreat fades as suspicions arise. Nothing is adding up. Their phones have been confiscated. Their only memories stored on (constantly-flashing) Polaroid film. Frida wakes to find dirt under her nails but can’t remember falling. Others discover mysterious bruises dotting their bodies. The girls’ identical attire—stark white bathing suits by day, stark white halter-necks by night—begins to feel vaguely icky. What at first seems like streamlined couture soon feels like an unsettling uniform. The nights play on repeat: exquisite dining, designer drugs, a feral lawn party. Despite plenty of flirtation, Slater never makes a move on Frida though. Their cat-and-mouse dance prickles with unfulfilled chemistry. As the days drag on, jumbled, foggy memories interrupt the supposed breezy holiday, making Frida and Jess question their reality in startling ways. Writer-director Zoë Kravitz, working from a script co-written by newcomer E.T. Feigenbaum, makes her dynamic and dynamite debut with Blink Twice. It’s the kind of first feature that feels both propulsive and incendiary, as if it exploded out of her—a rip-roaring blend of razor-sharp commentary and intriguing directorial choices that never fails to entertain. Leave it to the actress-turned/filmmaker to mimic fellow actor-turned-filmmaker Jordan Peele’s best instincts. At its best, Blink Twice channels the mirror-to-reality horrors of Get Out, but through a distinctly female lens, underscoring how simply existing as a woman can be a perilous act in modern society.

The ensemble cast is one of the more inspired collections of talent working today. Ackie makes a huge impression as Frida, her naturally expressive eyes forced to mask what they truly feel. As the dark reality of Slater King’s island comes into focus, much of the story—and Ackie’s performance—hinges on the pressure for women to act like everything is fine, even when their every instinct is screaming run. Any hint of discomfort—a missing smile, a stony moment of reflection—could tip off the others that something is amiss, putting her directly in harm’s way. Tatum is the perfect counterbalance to Ackie’s simmering humanity—seductive and controlled, ravenous and ravishing—a wolf in designer clothes.

Flanking Slater is Christian Slater’s Vic, a suspicious sycophant and Slater’s righthand man; Tom (Haley Joel Osment), a party animal; Cody (Simon Rex), the crew’s self-appointed foodie and resident sommelier; Rich (Kyle MacLachlan), Slater’s unconventional trauma therapist; and Lucas (Levon Hawke), an upstart newcomer to the tech scene. Independently, they dote on the women, treat them with class and respect. As a group, their intentions are more than a bit dubious. In addition to Frida and Jess, some of the other island inhabitants of the female persuasion include Sarah (Adria Arjona), a reality TV all-star famous for her many appearances on “Hot Survivor Babes”; and Camilla (Liz Caribel) and Heather (Tew Mullen), a pair of largely indistinguishable party girls, both of whom get their standout moment in the spotlight. Genna Davis inhabits the viper-infested island as a detail-oriented matriarch, hovering at the edges, playing mommy dearest to the billionaire and his boys.

As both screenwriter and director, Kravitz’s vision is startling, electrifying, and cogent. In her debut, she taps into the female collective consciousness, wrestles with modern anxieties, and shapes them into a wholly thrilling theatrical experience. When Blink Twice unveils the darkness pervading this perverse paradise, Kravitz doesn’t hold back. The blows land with precision, delivering a fiery, ripped-from-the-headlines commentary on the expectations of femininity, the pitfalls of celebrity worship, and betrayed consent—all deeply rooted in the 2024 zeitgeist.

Not all of Kravitz’s choices reach great heights, with some characters getting short shrift, leaving you wondering what their purpose was. Lucas, as a puzzle piece to the larger enterprise, feels unnecessary at best and downright out of place at worst. Additionally, some of the gory recompense in the third act would have been more effective if drawn out and underscored further – though Kravitz does craft some satisfyingly squeal-worthy imagery. Tying the violence into Sarah’s background as a hardened reality TV survivor would have been especially impactful though ultimately feels like a missed opportunity. Nevertheless, Kravitz is able to steer the calamity and commentary to a hugely satisfying conclusion that’ll be sure to leave audiences with plenty of talk about.

At the heart of the film lies a troubling question: What are we willing to trade for a good time? What great heights are we willing to dangle from for the perfect social media story? The answer becomes alarmingly clear as Frida and company confront this very dilemma. In a society that champions success over sanity, there’s a pervasive belief that we should endure the small bumps along the way—even as those bumps grow into mountains. The glossy ideals of success—Cheshire Cat smiles, fat blunts, cocktails with tiny umbrellas—fade into a plastic pastiche as dalliance turns to danger. Warning signs are overlooked for the shiny objects lining their dressing drawers. Vacuousness becomes an aim. Forget your worries – enjoy the now.

As people cling to illusions of happiness and good times, we ask: What are we willing to sacrifice to keep the illusion alive? Cue Gone Girl’s Amy with her scathing screed on the plight of the cool girl. Beyond delivering a banger of a social thriller, Kravitz earnestly interrogates the film’s core themes and leaves her audience with something to chew on. With inspired editing and eye-catching performances, Kravitz not only delivers a gripping social thriller with real world implications but also cements her status as a major talent to watch.

CONCLUSION: ‘Blink Twice’ delivers an electrifying social thriller in the vein of the best of the century that’s not only hugely entertaining but also offers sharp commentary on the sacrifices women are expected to make for a fleeting good time. With standout performances from Naomi Ackie and Channing Tatum, Zoë Kravitz’s debut is a must-see crowd-pleaser, anchored by an outstanding ensemble cast that ensures every moment crackles with unsettling intensity.