As a seasoned gamer of life with over three decades spent navigating the labyrinthine corridors of societal norms and expectations, I can confidently say that “Blink Twice” is a breath of fresh air in the saturated world of “eat the rich” narratives. Born into a family with enough wealth to fund a small nation, yet raised with a healthy dose of skepticism and an insatiable curiosity for the human condition, I’ve always been drawn to stories that challenge the status quo.
In recent cinema, we find ourselves wading through numerous “eat the rich” satires, yet even the most effective ones lack bite, only hinting that the powerful might not be as intelligent as they appear. It’s easy to assume that Zoë Kravitz’s directorial debut, “Blink Twice,” would follow suit, given her privileged upbringing which may hinder a raw, critical approach. However, while there are moments where the movie seems reminiscent of Emerald Fennell’s work, targeting similar subject matter, it does not adhere to the same formula.
As a woman who has faced her fair share of systemic misogyny throughout my life, I found “Pussyfoot” to be an incredibly powerful and thought-provoking film. The way it skewers the deluded rich in their own backyard is reminiscent of “Saltburn,” but what sets “Pussyfoot” apart is its uncompromising exploration of the topic. It’s clear that the director, Kravitz, has a deep understanding and passion for this issue, as the film feels like the movie Fennell wished she had made instead of an empty thrill ride with loftier ambitions beyond its station.
A deliberately intoxicating mess
In this rephrased version: Naomi Ackie plays Frida, a waitress in the gig economy who is friends with Jess (Alia Shawkat). They encounter disgraced billionaire Slater King (Channing Tatum), who seems to have changed his ways after public backlash. He invites them to his private island for what appears to be a relaxing getaway, though it’s not called “P***y Island” in the film. The island’s atmosphere is more relaxed due to the prevalent use of marijuana and hallucinogens. It takes some time for the female guests to understand that days blend together as they alternate between sober and intoxicated states.
Without a doubt, there’s a deeper reasoning for their memory issues, but it’s Zoë Kravitz’s skill that she delves into this explanation later than expected. Collaborating with Editor Kathryn J. Schubert, the opening part of the film portrays a sense of luxury ennui through its detailed portrayal of the monotony of their lifestyle. Unlike other films that might initially glamorize this world, it’s presented more like an endless loop where characters drink, smoke, eat, lounge by the pool, and repeat. The sudden transitions between scenes seem to mirror the lack of sobriety on screen, rather than hinting at something ominous beneath the surface, thus effectively emphasizing the hollowness of hedonism in a way I found impressive because it tests viewers’ patience before the horror unfolds.
In simpler terms, this movie shares some similarities with other high-concept social thrillers, like “Get Out,” but it doesn’t quite reach the same level of ominousness or intensity. However, there is an unexpected twist where a character mentions feeling uneasy about the isolated island setting, which seems out of place at first, but turns out to be a clever move in hindsight. The movie initially appears through rose-tinted glasses, making it easy to overlook warning signs, and I found myself missing obvious red flags because I expected a dark turn later on.
It has something interesting to say about cancel culture — No, really
Zoë Kravitz is more skilled as a director compared to her abilities as a screenwriter, particularly when it comes to dialogue that directly states themes without subtlety. However, one aspect where this isn’t an issue is the unique perspective “Blink Twice” offers on a contentious topic of recent years: cancel culture. Stories about this subject often present it as if an innocent public figure is unfairly criticized for minor mistakes, which can be dull and biased towards celebrities who engage in harmful online activities. For instance, compare J.K. Rowling’s controversial tweets to how they are reported by the British media, and you’ll see a clear example of this phenomenon.
The film, while subtly exploring systemic misogyny in a way that might surprise you, skillfully avoids focusing on ‘cancel culture’ and instead delves into the character of a man who resents being held accountable for his actions. Channing Tatum portrays this character with an abundance of charisma throughout most of the film, making the intended satire seem understated. The billionaire character, despite having a private island where criminal activities occur, plays out like one of Tatum’s usual romantic leads, thus muting jokes about his attempts to mask his wrongdoings by emphasizing therapy. This use of Tatum’s typical casting role adds depth to his character, setting him apart from the flat antagonists in recent ‘rich-eating’ satires.
The movie “Blink Twice” is likely to spark debate, but it stands out due to its blunt and unapologetic approach when tackling the wealthy elite, contrasting with many recent films of this genre. While it’s not perfect, it serves as a promising indication that Kravitz has an intriguing career ahead in filmmaking.
“Blink Twice” arrives in theaters on August 23.
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2024-08-16 23:00