Blink Twice (2024)
Directed by Zoë Kravitz
When tech billionaire Slater King meets cocktail waitress Frida at his fundraising gala, he invites her to join him and his friends on a dream vacation on his private island. But despite the epic setting, beautiful people, ever-flowing champagne, and late-night dance parties, Frida can sense that there’s something sinister hiding beneath the island’s lush façade.
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What critics say influenced Blink Twice
This gradual and shocking comprehension is reminiscent of the shattering revelations that eventually come to light in Jordan Peele’s Get Out, but with a feminist twist.
Kravitz doesn’t flinch once — not even when her film might be served by looking away. She maintains a steely gaze in this caustic social-horror fable, laced with black comedy, which has nods to Jordan Peele’s “Get Out” while Kravitz chooses to aim her artistic weapons at sexual politics, not necessarily race.
Shrewdly influenced by Jordan Peele’s Get Out, the #MeToo movement, and the horrors of what went down on Jeffrey Epstein’s island, Kravitz delivers an unnerving psychological thriller that will keep you on the edge of your seat.
Given that Blink Twice unfolds like a cousin to Jordan Peele’s Get Out, a version justifiably raging against the patriarchy and abuse, the comparisons are inevitable.
It is the memory loss element of Blink Twice that most closely aligns it with Jordan Peele's own seminal psychological thriller, Get Out.
There are no cellphones allowed on Slater’s island. The people on staff, like those in Jordan Peele’s Get Out, wear forced smiles that merely pronounce their vacant stares.
"Blink Twice" often plays like the Tether (as in Jordan Peele's "Us") of Rian Johnson's "Glass Onion," the crooked funhouse mirror reflection of a movie audiences feel like they can predict from the start, but Kravitz's narrative voice is so strong, she's practically screaming not to be underestimated.
It's wildly entertaining – a sharp-witted genre movie that combines the clued-in messaging of Jordan Peele's Get Out with a touch of the skin-prickling unease of Alex Garland's Men.
The defiant comedy amid the horror here urges us to keep hope alive, even when things look bleak, much like Radio Silence's 2019 hit Ready or Not.