Film Review: Blink Twice (2024)
Blink Twice
The Sisterhood of Untamed Excess, Weed, Wine, & a Wealthy Pretty Boy
The new psychological thriller Blink Twice is definitely not for the faint of heart. TRIGGER WARNING this film features scenes of savage violence and graphic depictions of rape, bondage, and sexual torture. The subject matter is deeply disturbing and may be especially triggering for anyone who has survived rape or physical abuse. Even the film’s title seems to foretell and/or imply incapacity (i.e. in a hostage situation – blink twice if you need help). The film begins as a male fantasy in which beautiful young women are overpowered and controlled before the narrative abruptly morphs into a kind of #MeToo movement on steroids.
Blink Twice stars Channing Tatum (Magic Mike 2012) as tech billionaire Slater King. Naomi Ackie portrays cocktail waitress Frida with Arrested Development’s Alia Shawkat as Jess her roommate, co-worker, and BFF. The cast is rounded out by Haley Joel Osment who steps out of the shadow of The Sixth Sense (1999), perennial bad boy Christian Slater (Heathers 1988, TV’s Mr. Robot 2015-2019), freaky Kyle MacLachlan (Showgirls 1995, Twin Peaks 190-1991), and Geena Davis (star of the original 1991 female empowerment film Thelma & Louise). The film’s breakout performance is delivered courtesy of actress Adria Arjona (Sarah) who gives a stunningly powerful and emotionally wrought performance.
Perhaps one of the reasons why Blink Twice packs such a visceral agonizing punch is due to the fact that it was made by a female. The narrative directly taps into women’s innate fears of exploitation and helplessness. The intensity of the most vivid and disturbing scenes is both terrifying and all too believable. The film was directed and co-written by actress Zoë Kravitz daughter of musician Lenny Kravitz and actress Lisa Bonet and fiancé of the film’s leading man Channing Tatum.
Filmgoers are made to bear witness to the helplessness, pain, and sheer terror of the female characters (and the lone gay male), all of which is amplified as the narrative progresses. While watching each character’s agony viewers might find themselves experiencing a feeling akin to that of an out of body experience in which we, as distanced observers, are rendered incapacitated, helpless, and unable to come to the aid of those who are suffering. We are mute observers who can only serve as witnesses to the horrors spread out before their eyes like a macabre Hieronymus Bosch painting.
Early on Blink Twice seduces viewers with promises of gluttonous excess: wine, women, and song (and chickens). The film, like a skilled predator, lures viewers into its proverbial van complete with luxurious, expensive leather seating, the intoxicating smell of weed wafting in the air, playful lighthearted music playing in the background, plentiful alcohol, beautifully colorful flowers, and the offer of an invite-only private posh vacation in an exclusive garden of earthly delights. Unfortunately, however, the women don’t see the serpent coiled up under those expensive seats just waiting for an opportunity to spring up and devour them whole.
The first half of Blink Twice is dominated by an atmosphere steeped in money, power, alcohol, weed, and plenty of flash without substance then seemingly out of the blue the film delivers a jarring sucker punch as the movie’s tone dramatically shifts from light, frivolous, and fun to sinister, violent, and deadly serious. At that point, however, viewers will find themselves in too far to turn back (much like the female characters at the center of the film). Like these women, filmgoers are left in an uncomfortable position, lulled into complacency, both seduced and invested in both the narrative and the characters (especially Frida).
What makes Blink Twice even more terrifying and such a slow burn is how during the film’s first half the male characters are portrayed as being normal, happy, carefree, fun, even gentlemanly. When this façade is eventually de-masked and their violent shadow selves are revealed it’s all the more jarring and disturbing. When the hidden reality of what’s really going on is revealed in all its naked savagery viewers come to realize that these seemingly harmless men are actually monsters in sheep’s (snake’s) clothing.
Zoë Kravitz’s script contains plenty of snake imagery in its depiction of a warped version of The Garden of Earthly Delights (or garden of lusts) complete with allusions to the Garden of Eden. The filmmaker chooses to mix things up, however, and turn the biblical story on its head. In Blink Twice the snake isn’t an evil temptress or symbolic of the devil but rather the key to providing mental clarity and discovering the truth.
Blink Twice is guaranteed to keep moviegoers on the edge of their seats and leave them guessing right up until the film’s powerful conclusion. Although it has some narrative issues, they aren’t substantive enough to negate the overall power and visceral impact of the film in its entirety. Blink Twice is populated by rich, powerful men who feel as if they can do anything to anyone; the world is their playground and those who inhabit it are merely props for their twisted enjoyment. The female characters in Blink Twice endure a particularly cruel personal violation of their bodies, minds, and spirits but ultimately they reject the notion of victimhood, turn the tables on their oppressors, and take back control of their own bodies, minds, and fates.
