SYNOPSIS: In “Blink Twice,” a psychological drama directed by Zoë Kravitz, and now playing in theatres, disgraced tech billionaire Slater King (Channing Tatum) invites cater waiter Frida (Naomi Ackie) to join him and his friends for an idyllic get-a-way on his private island. “Are you having a good time?” he repeatedly asks her as champagne flows, and she is… until, in the blink of an eye, she has a startling revelation.
CAST: Naomi Ackie, Channing Tatum, Christian Slater, Simon Rex, Adria Arjona, Haley Joel Osment, Kyle MacLachlan, Geena Davis, Alia Shawkat. Directed by Zoë Kravitz.
REVIEW: A dark psychological thriller with elements of rage, humour and danger, “Blink Twice” is a confident, if scattered, directorial debut from Zoë Kravitz. A violent riff on “Eternal Sunshine of the Spotless Mind’s” memory erasing, it asks the question, Is it best to live with only good memories, burying the bad so deeply they never resurface?
A fantasy island trip gone wrong, “Blink Twice” takes a while to get where it is going, to let the Twilight Zone-ness of the situation sink in. It’s decadent and drug fueled, set to a soundtrack of dance tunes and King’s constant query, “Are you having fun?” Nothing matters except hedonism, and soon (NO SPOILERS HERE), but not soon enough, we find out why.
At this point “Blink Twice” flicks the switch. What begans as Jordan Peele style exploration of the ultra-wealthy, of the lingering, intergenerational effects of trauma and violence against women, becomes a revenge drama tinged with horror. After a long lead up, however, the transition feels rushed as the true cruelty of the party island, and the men who run it, is revealed.
Kravitz and co-writer E.T. Feigenbaum have a lot on their minds, but more isn’t always better. From the apology tours of cancelled celebrities and sexual violence against women to the price of trauma, white patriarchal privilege and gender disparity, it touches down on a litany of hot button topics. Add to that a private island with a Jeffrey Epstein vibe and a misbehaving billionaire and you have an overload of Twitter/X trending topics. With so much happening, “Blink Twice” feels like it is hop-scotching around its themes and doesn’t add much new to the discourse of any of them.
Still, as tightly packed as the movie is—no shrinkflation here—Kravitz keeps the pace up, nimbly navigating her way through to the film’s finale with style to burn. The direction trumps the storytelling, as Kravitz knows how to stage effective scenes that will entertain the eye and, perhaps even move you toward the edge of your seat.
She is aided by strong performances from the three leads, Ackie, Tatum and “Hit Man’s” Adria Arjona. Tatum is all charm as the romantic lead (for a while anyway) before revealing his true nature in a terrific turn-around for the character.
Ackie and Arjona enjoy the best-written roles and make the most of them. As Frida, Ackie (last seen playing the title role in “Whitney Houston: I Wanna Dance with Somebody”) is relatable as someone who finds themself in an unimaginable situation, before tapping into a newfound iron will.
Arjona takes a role that could have been one-note—a reality show warrior with her eye on the billionaire’s affections—and makes her multi-faceted, kick-ass and very funny.
“Blink Twice” doesn’t entirely work, but as a story about the nature of memory, it is memorable enough to earn a recommendation.
For eight years on television Adrian Grenier, Kevin Dillon, Kevin Connolly, Jerry Ferrara and Jeremy Piven provided a glamourized behind-the-scenes look at how Hollywood works.
In a scene at the end of the new “Entourage” film someone has the idea of turning the exploits of actor Vincent Chase, his best friend and manager Eric Murphy, half brother Johnny Drama and pal Turtle into a movie. “Sounds more like a TV show,” cracks Ari, the hotshot agent who made Vincent a superstar.
You know what? He’s right. It worked better as a TV show than it does as a movie.
The movie picks up just after the TV show ended. Chase (Grenier) is newly divorced and looking for a new film project. His former agent Ari (Piven) is now a studio head and has the perfect project for him, an updated version of the “Jekyll and Hyde” story. There’s a twist though. Chase has developed the Hollywood disease known as “Directoromyelitis Syndrome.” He’ll only agree to star in the film if he can also direct. A deal is struck, but when Chase lets the budget get away from him Ari must try and wrangle $15 million more from the film’s conservative Texan finaciers, billionaire Larsen McCredle (Billy Bob Thornton) and his son Travis (Haley Joel Osment). If they can’t get the money to finish the film it could be the end of the line for Vinnie, Ari and the guys.
“Entourage” the movie feels like binge watching three or four episodes of the television show. No attempt has been made to make the movie more cinematic than the show or to deepen the characters or situations. Chase is still the carefree superstar who thinks he can start all over again by moving back to his old neighbourhood in Queens if everything goes sour. Turtle remains a romantic wannabe while Johnny Drama is wracked by insecurity and E quietly tries to keep everything from spinning out of control.
If the name “Arrested Development” hadn’t already been taken by another show it would have been the perfect title for this bunch, who are more interested in meeting women and when they’re not meeting women, then talking about women than they are in behaving like actual living, breathing people. Perhaps their insipid behaviour is a comment on the vapid Hollywood lifestyle or maybe it is just vapid. I think suggesting a movie that uses a line like, “when one vagina closes, another one opens,” of any grand, high-minded purpose is overstating things by a mile.
All the glitz and glam in the world—the movie is a tribute to lifestyle porn—can cover the emptiness of the story, and even filling up screen time with an extensive array of cameos—everyone from Kelsey Grammer and Pharrell Williams to Liam Neeson and Andrew Dice Clay pop up for one line gags—does little more than turn the film into a celebrity “Where’s Waldo” exercise.
There is a sense of familiarity that comes along with watching the “Entourage” movie, like seeing old friends you haven’t hung out with for a while, but you can’t help but think that the film-within-the-film is more interesting than the movie you’re actually watching.
