Blink Twice, Zoë Kravitz’s directorial debut, is the latest in a line of films that claim to expose the ugliness of wealth, yet can’t resist glorifying the lifestyle at the same time. The story follows Frida, a cocktail waitress, and her friend, invited by a billionaire tech mogul to a private island. Once there, Frida starts blacking out at night, losing track of her actions, until her friend mysteriously disappears. As she begins to experience flashes of what might really be happening, the film explores themes such as pop culture, cancel culture, and trauma.
The movie wears its inspirations on its sleeve—it’s easy to see that Kravitz has binge-watched White Lotus and likely pitched this as a blend of Glass Onion and Get Out. Her approach in the first hour aims for cool, edgy, with quick cuts and montages that feel more like a music video than a film. As with most movies depicting the ultra-rich, the initial moments on the island are fun to watch, but the film stumbles when it comes to building actual suspense. It never feels truly mysterious or engaging; instead, it falls into the familiar pattern of being yet another movie where “rich people do bad stuff.” The pacing is particularly messy in the first act, with strange, random events that feel more confusing than intriguing.
A major reason the film fails to engage is its underdeveloped characters and flat performances, most notably from Channing Tatum. Speaking in a monotonous voice and delivering a performance with no energy, Tatum’s tech mogul lacks any charisma or intelligence. Frida’s attraction to him seems rooted solely in his wealth, and he comes across more like a spoiled rich kid than a calculating billionaire, which drains much of the suspense. The rest of the rich characters are similarly underexplored, leaving the film’s social commentary feeling shallow and repetitive—it just keeps saying “rich people are bad” without adding anything new.
As Frida, Naomi Ackie once again struggles to deliver a compelling performance. After lackluster turns in Star Wars: The Rise of Skywalker and I Wanna Dance with Somebody, she continues to lack the screen presence or charisma needed to carry a lead role. She doesn’t come across as relatable or interesting enough for the audience to root for her. In contrast, Adria Arjona, who shines in Hit Man, brings a much-needed burst of energy to the film’s second half, though her character’s introduction is confusingly staged, making her feel like she just fades into the movie. The supporting cast, including Christian Slater, Kyle MacLachlan, and Haley Joel Osment, are wasted in forgettable roles, and Geena Davis’ bizarre attempts at humor shows that she may be out of touch with how humans behave—she can’t even convincingly hold a folder!
Blink Twice also squanders its potential for escapist fun by offering a dull depiction of the rich lifestyle, especially compared to the sharp portrayals in White Lotus or Succession. While some of this may be intentional, it ultimately detracts from the film’s appeal. The actual reveal isn’t exactly predictable, but it also lacks the cleverness and originality it aspires to. Additionally, several plot points, like the servants and the island’s mysteries, are left frustratingly unexplored. For a psychological thriller, the sudden dismissal of Frida’s friend after her disappearance feels rushed, robbing the film of any meaningful tension or intrigue while making Frida look like a very bad friend. What could have been an exciting or thought-provoking thriller instead comes off as an amateurish attempt that fails to deliver on both suspense and entertainment.