---
title: "Blink Twice"
year: 2024
kind: "film"
canonical: "https://film.one/film/blink-twice"
fi1m_id: "blink-twice"
imdb_id: "tt14858658"
tmdb_id: 840705
wikidata_id: "Q113012523"
fi1m_score: 64
critics_score: 67
critics_reviews: 20
published: "2026-09-09"
updated: "2026-09-18T08:37:58.672210+00:00"
region: "US"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# Blink Twice (2024)

Directed by Zoë Kravitz · 1h 43m · MPA R · Horror, Mystery, Thriller

## Identity

Blink Twice

- **Canonical:** https://film.one/film/blink-twice
- **Type:** Film
- **Fi1m ID:** blink-twice
- **IMDb ID:** tt14858658
- **TMDB ID:** 840705
- **Wikidata ID:** Q113012523
- **Same entity:** https://www.imdb.com/title/tt14858658/, https://www.themoviedb.org/movie/840705, https://www.wikidata.org/wiki/Q113012523

**Fi1m score: 64** · Critics 67 from 20 reviews

*In a sentence:* Everyone is in white linen, the champagne never stops and nobody can remember Tuesday

> Zoë Kravitz’s first film as director looks handsome, is well cast and is funny about rich men who talk like their therapists. It borrows its shape from *Get Out* and, once the mystery is out, has less to say than it thinks.

## Synopsis

Frida (Naomi Ackie) is working the catering shift at a gala thrown by Slater (Channing Tatum), a tech billionaire who has lately apologised on camera and stepped away from his company. She and her friend Jess (Alia Shawkat) change out of uniform, join the party, and by morning are on his plane to a private island with his circle: Vic (Christian Slater), Cody (Simon Rex), Tom (Haley Joel Osment), his therapist Rich (Kyle MacLachlan) and his assistant Stacy (Geena Davis). Also along are Sarah (Adria Arjona), Camilla (Liz Caribel Sierra) and Heather (Trew Mullen). Phones go into a bag. The days fill with the pool, the dinner table and Slater’s one question: are you having a good time?

## Review

Zoë Kravitz’s first film as director, written with E.T. Feigenbaum, puts a young woman who wants to be chosen on a billionaire’s island. Frida (Naomi Ackie) has watched Slater (Channing Tatum) on her phone for years, mostly the clip of him apologising. When he asks her along she says yes before he has finished the sentence. It is a good-looking, well-acted 103 minutes that spends an hour laying a careful trap and half an hour letting off fireworks, and it is the trap we would send you for.

The island is where Kravitz shows she can direct. Adam Newport-Berra shoots it in hard sun, white walls against turquoise water, so bright the shadows under the palms look black. Roberto Bonelli gives the villa low white buildings, a long outdoor table and guest rooms that all match, and Kiersten Hargroder puts every woman in the same white dress, so the guests look like staff. Kathryn J. Schubert cuts the days as a loop: a dive into the pool, a glass filled, a dinner, a waking. By the third loop we could not count them either, and that is the point. Chanda Dancy’s score stays low and uneasy under the daylight and steps aside for pop at night, which is the right way round.

Tatum is the film’s best joke and its best argument. He plays Slater as a man who has done the work, who says he hears you before you have spoken, who cries neatly and thanks you for holding space. He has learned the vocabulary of harm and uses it as a passkey, and Tatum never winks. Ackie is eager and watchful, and makes Frida’s need to be picked drive every scene; she is at her best when she is not sure whether she is being flattered or handled. Adria Arjona, as Sarah, a woman Frida recognises from television, is quick, funny and the first person on the island to behave like an adult when things go wrong.

Here is what we felt. We laughed at Tatum, often and without guilt. A little past the hour Frida stands by the pool trying to count the nights she has been there and cannot, and we felt a proper chill, the earned kind, because the cutting had been doing to us what the island was doing to her. It lasted about twenty minutes. Then the film changed into something louder, and we watched the chill drain away.

The second half takes a turn we will not describe. Its shape is borrowed, almost gesture for gesture, from Jordan Peele’s *Get Out* (2017): the smiling hosts, the outsider who notices, the thing wrong that the poster has already told you about. Kravitz shows her hand early, explains it, then explains it again with a flashback in case anyone missed it. The final stretch is bloody and fast and plays as wish fulfilment, and we understood the wish; we also found the film had stopped asking anything of us and was simply cheering.

The smaller trouble is the men around Slater. Vic, Cody, Tom and Lucas are types the script recognises and never gets to know. Christian Slater and Simon Rex do what they can with a line apiece. Geena Davis is better served as Stacy, forever mislaying something and apologising for it, and gets laughs and a real shiver from a handful of lines. Kyle MacLachlan’s therapist is on screen for minutes and says almost nothing, which may be the joke.

The film is more interested in Slater than in Frida, and that is the fault that matters. She has no life we see outside her wanting him, so when the story asks us to care what she chooses, we take her mostly on Ackie’s face. Ackie’s face is good. It is not a script.

Worth an evening if the genre is yours; it carries a 15 and does not outstay its welcome. Go for the first hour, for Tatum, for Arjona, and for how well Kravitz makes the not-knowing look. Do not expect to be surprised by what is wrong on the island, only by how long it takes everyone to say so.

*Fi1m score 64, published 9 September 2026.*

## What the critics say

Most critics like Blink Twice, and the reviews agree on what works: Kravitz directs with confidence, the soundtrack and cutting are sharp, and Naomi Ackie holds the film together, with Tatum, Adria Arjona and Geena Davis picked out from the ensemble.

The spread is wide, though. The warmest reviews call it a tense, funny crowd-pleaser; the coolest find it hollow. The reservations cluster around the script rather than the surface. Several critics think it borrows too plainly from Get Out, that the plot is convoluted or shows its hand early, and that the film says less about wealth, power and abuse than it wants to. The strongest dissents, from Vulture and RogerEbert.com, argue it is too taken with Tatum’s image to critique him, and that it trades nuance for exploitation. Deadline calls the ending a cop-out. Even the doubters, though, tend to credit the performances and the style.

## Straight answers

**Is Blink Twice worth watching?**

*Blink Twice* is worth an evening if horror-thrillers are yours, and we scored it 64. The first hour, with Channing Tatum as a billionaire fluent in therapy talk and Zoë Kravitz making the not-knowing look handsome, is the reason to go. The last half hour explains itself twice and turns into loud wish fulfilment, so expect less surprise than the set-up promises.

**How long is Blink Twice, and what is it rated?**

*Blink Twice* runs 1h 43m and is rated R by the MPA in the US. It is a horror and mystery film.

**Where can I watch Blink Twice in the US?**

*Blink Twice* is available to rent from Amazon Prime Video and Apple TV from $3.99. Availability is checked daily; the links above go straight to each service.

**How violent or frightening is Blink Twice, and is it suitable for children?**

*Blink Twice* carries a UK 15 and a US R, and it is not suitable for children. The first hour is unease rather than fright, a party that never seems to end; the final stretch is bloody and fast. It also turns on adult subject matter around men, power and harm, which teenagers under fifteen should not be shown and squeamish viewers may find hard.

**How does Blink Twice compare to Get Out?**

*Blink Twice* takes its shape almost gesture for gesture from [*Get Out*](https://film.one/film/get-out), and the earlier film is the better of the two. Jordan Peele trusts his audience with the reveal and keeps the jokes alive through the fear, where Kravitz explains her twist, then explains it again. Watch *Blink Twice* for Tatum and a strong first hour; watch *Get Out* if you want the whole thing to hold.

**What should I watch after Blink Twice?**

After *Blink Twice*, try [*Get Out*](https://film.one/film/get-out) (2017, Fi1m 89): The template this one works from, and it trusts its audience more. Then [*Rosemary's Baby*](https://film.one/film/rosemarys-baby) (1968, Fi1m 92): Everyone is so kind to her; that is the horror, and it never shouts; and [*Triangle of Sadness*](https://film.one/film/triangle-of-sadness) (2022, Fi1m 66): The very rich stranded and undone, with a stronger stomach for its own joke.

### Reviews we read (28)

- **Total Film**, Leila Latif (90/100, inferred): Kravitz makes a phenomenal directorial debut with a gripping thriller that keeps viewers hooked from start to finish. [Read](https://www.gamesradar.com/entertainment/thriller-movies/blink-twice-review/)
- **Empire**, Sophie Butcher (85/100, inferred): Kravitz delivers an accomplished, incisive directorial debut with a tense, Get Out-inspired thriller about coercion and cancel culture on a billionaire's island. The film is praised for its style, humour, soundtrack, and strong performances, especially from Ackie and Tatum. [Read](https://www.empireonline.com/movies/reviews/blink-twice/)
- **Evening Standard**, Maddy Mussen (85/100, inferred): Kravitz's brutal and brilliant directing debut is an intoxicating, savage triumph with real style, panache, and harrowing social commentary on misogyny; Tatum is chilling in a departure from type, and the music and performances stand out. [Read](https://www.standard.co.uk/culture/film/blink-twice-review-channing-tatum-zoe-kravitz-naomi-ackie-b1177425.html)
- **Little White Lies**, Hannah Strong (4/4/4): Kravitz's directorial debut is a gutsy thriller full of righteous fury in paradise that is angry, energetic and anchored by stand-out work from Naomi Ackie and Adria Arjona. It serves as a primal scream for any woman who has had to exist in a world that resents them. [Read](https://lwlies.com/reviews/blink-twice)
- **Radio Times**, Jeremy Aspinall (4/5): Kravitz makes a confident and thought-provoking directorial debut benefiting from a strong support cast and stylish visuals that deftly tease out the mystery until a furious finale reveals the sinister truth in this mind-bending mystery thriller. [Read](https://www.radiotimes.com/movie-guide/b-n1jxlk/blink-twice/)
- **Time Out** (4/5): Kravitz delivers a supremely entertaining directorial debut that is a twisty-turny crowd-pleaser confident with its thrills, surprises and deftly handled sexual politics. It is intelligent, funny, gory and deeply cinematic, marking her as a storyteller of huge promise. [Read](https://www.timeout.com/movies/blink-twice-review-2024)
- **Variety** (80/100, inferred): Kravitz proves herself a total filmmaker with an intimate, brash #MeToo thriller that works as both suspenseful story and feminist allegory of memory. [Read](https://variety.com/2024/film/reviews/blink-twice-review-zoe-kravitz-channing-tatum-1236110374/)
- **The AV Club**, Brianna Zigler (B): The directorial debut is a fun, fluffy social thriller that pulls from familiar sources but remains entertaining with strong visuals and promise. It succeeds as a popcorn film focused on gender dynamics rather than nuance or deep societal lessons. [Read](https://www.avclub.com/blink-twice-review)
- **The i Paper**, Christina Newland (70/100, inferred): Kravitz's debut is a stylish, deeply entertaining eat-the-rich revenge thriller with strong performances from Ackie, though it moves too fast and doesn't dig as deeply into its themes as it could. The hyper-violent final act provides catharsis. [Read](https://inews.co.uk/culture/film/blink-twice-review-zoe-kravitz-deeply-entertaining-eat-rich-revenge-3238444)
- **Los Angeles Times**, Katie Walsh (40/100, inferred): Kravitz's debut is stylish and bold with good performances but muddled in message and falters in horror execution, resulting in a hollow impact. [Read](https://www.latimes.com/entertainment-arts/movies/story/2024-08-22/blink-twice-review-naomi-ackie-adria-arjona-channing-tatum-social-horror)
- **Vulture**, Angelica Jade Bastién (30/100, inferred): The film is a timid and shallow take on its eat-the-rich and #MeToo premise, too obsessed with Tatum's image to deliver meaningful critique or disrupt expectations. It fails to explore the protagonist's arc or the intersections of wealth, power, and gender effectively. [Read](https://www.vulture.com/article/blink-twice-is-too-obsessed-with-channing-tatum.html)
- **RogerEbert.com**, Peyton Robinson (20/100, inferred): The critic finds the film fails to engage meaningfully with its themes of power and #MeToo, resorting to exploitation and lacking nuance, though performances by Tatum and Ackie are strong. [Read](https://www.rogerebert.com/reviews/blink-twice-film-review-2024)
- **Financial Times**, Stephanie Bunbury (★★★☆☆): Kravitz's glossy debut is cheerfully derivative of island thrillers and eat-the-rich satires but goes for light laughs rather than damning satire. Tatum convinces as the creepy billionaire, the tone stays light and entertaining, and Geena Davis stands out in the ensemble. [Read](https://www.ft.com/content/1b7a9178-5c2d-4786-bfe5-51a36caf0765)
- **IndieWire**, Kate Erbland: Kravitz's directorial debut is raucous and razor-sharp, redefining the possibilities of an entertaining #MeToo thriller with a stacked cast. The film builds an effective social satire and horror hybrid that demands attention. [Read](https://www.indiewire.com/criticism/movies/blink-twice-review-zoe-kravitz-channing-tatum-naomi-ackie-1235035818/)
- **Sight and Sound**: Kravitz shows promise as a director with sharp cuts and vivid compositions, but the script is overwritten and frustratingly vague with a convoluted plot and poorly defined characters. The satirical intent is undermined by hollowness; Adria Arjona shines in a standout performance. [Read](https://www.bfi.org.uk/sight-and-sound/reviews/blink-twice-channing-tatum-unconvincing-evil-tech-ceo-this-convoluted-destination-thriller)
- **Slant Magazine**, Ross McIndoe: The Me Too thriller borrows heavily from Get Out but shows its hand too early and never reaches similar heights, resulting in a passable but clumsy vacation read. It offers only surface-level commentary on male danger and female performance without satisfying catharsis or satire. [Read](https://www.slantmagazine.com/film/blink-twice-review-channing-tatum-zoe-kravitz/)
- **The Guardian**, Peter Bradshaw: Kravitz's directorial debut is a propulsive but unwieldy #MeToo thriller overloaded with echoes of Get Out, Don't Worry Darling and The Menu, plus Epstein-island inspiration. It works best as a visually alluring date-night mystery but falters as a finger-wagging dissertation, with a script more interested in the male antagonist and too many unanswered questions. [Read](https://www.theguardian.com/film/article/2024/aug/22/blink-twice-review-zoe-kravitzs-stylish-yet-scattered-metoo-thriller)
- **The Hollywood Reporter**, Lovia Gyarkye: The film is skillful but scattered as a directorial debut, with a busy narrative that stretches thin under the weight of its themes and plot points. Ackie and Arjona deliver the standout performances that focus and energize the story. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/blink-twice-review-channing-tatum-zoe-kravitz-1235973520/)
- **The Telegraph**: Kravitz's predictable directorial debut recycles the Get Out formula for the #MeToo era on a private island but gets the mechanics backwards with an inefficient, bizarre plot. Tatum is miscast as the monstrous mogul, though the film comes close to being interesting at times. [Read](https://www.telegraph.co.uk/films/0/blink-twice-review-channing-tatum-naomi-ackie/)
- **The Times** (★★★☆☆): Kravitz delivers a dazzling, slickly entertaining directorial debut that is a guttural howl of feminist rage engaging with Epstein-island implications. Ackie is astounding as the wide-eyed lead and Tatum is never better as the creepy tech billionaire. [Read](https://www.thetimes.com/culture/film/article/blink-twice-review-a-dazzling-directorial-debut-from-zoe-kravitz-d9pbcrnkd)
- **/Film**, BJ Colangelo (8/10): The critic calls it a jaw-dropping thrill ride and the biggest surprise of the year, praising Kravitz's strong narrative voice and the way the film subverts expectations with its shocking turns. They highlight the expertly assembled ensemble cast, especially the chemistry and performances that sell the film's twisted dynamics. [Read](https://www.slashfilm.com/1642122/blink-twice-review/)
- **NME**, James Mottram (4/5): Kravitz's directorial debut is a razor-sharp, bloodcurdling thriller that blends wish-fulfilment fantasy with a disturbing tale of abuse and female solidarity. The critic praises the sharp writing, effective drip-feed of tension, strong performances especially from Ackie, and the brilliant soundtrack. [Read](https://www.nme.com/reviews/film-reviews/blink-twice-review-zoe-kravitz-channing-tatum-3785134)
- **The Wrap** (75/100, inferred): The review calls the directorial debut devilishly entertaining and a superbly punchy thrill ride, though somewhat glib. It singles out Kravitz’s accomplished technical craft in sound design, music, and cinematography for building tension and stylistic verve. [Read](https://www.thewrap.com/blink-twice-review-channing-tatum-zoe-kravitz/)
- **Polygon**, Tasha Robinson (70/100, inferred): The horror-thriller is blunt, obvious, and incandescently angry in its eat-the-rich message about men versus women and haves versus have-nots. It provokes recognition and righteous fury but rarely pulls its punches in a familiar story made cathartic through imagined bloody response. [Read](https://www.polygon.com/review/443624/blink-twice-zoe-kravitz-channing-tatum/)
- **Paste**, Jesse Hassenger (6.4/10): Blink Twice cannot quite escape the shadow of Get Out despite making its points with force, humor, and style. The protracted twistiness often feels processed primarily through the lens of movies rather than direct experience. [Read](https://www.pastemagazine.com/movies/zoe-kravitz/blink-twice-review)
- **Collider**, Taylor Gates (6/10): The film struggles with pacing but provides refreshing twists on the #MeToo thriller. It is at its best when leaning into its dark premise of patriarchal oppression, with strong performances and gorgeous cinematography. [Read](https://collider.com/blink-twice-review/)
- **The Ringer**, Adam Nayman (50/100, inferred): Kravitz shows real chops with her eat-the-rich horror spin but the movie ultimately falls short of its lofty influences like Rosemary's Baby. It is determined to be on the right side of its topic and sidesteps the insidious contradictions that make the most unsettling thrillers work. [Read](https://www.theringer.com/2024/08/23/movies/blink-twice-movie-review-channing-tatum-zoe-kravitz)
- **Deadline**, Damon Wise (40/100, inferred): The critic finds the premise timely and intriguing but concludes the film promises more than it delivers, leaving moral questions unresolved in a high-end genre format. He praises the strong cast, especially Naomi Ackie and Geena Davis, while noting the script takes a familiar twisty route and the ending feels like a cop-out. [Read](https://deadline.com/2024/08/blink-twice-review-zoe-kravitz-channing-tatum-naomi-ackie-intriguing-horror-thriller-1236049521/)

## Details

- **Director:** Zoë Kravitz
- **Director:** Zoë Kravitz
- **Writer:** E.T. Feigenbaum, Zoë Kravitz
- **Cinematography:** Adam Newport-Berra
- **Editor:** Kathryn J. Schubert
- **Music:** Chanda Dancy
- **Production design:** Roberto Bonelli
- **Costume design:** Kiersten Hargroder
- **Producer:** Bruce Cohen, Zoë Kravitz, Garret Levitz
- **Cast:** Naomi Ackie as Frida; Channing Tatum as Slater; Alia Shawkat as Jess; Christian Slater as Vic; Simon Rex as Cody; Adria Arjona as Sarah; Haley Joel Osment as Tom; Liz Caribel as Camilla
- **Runtime:** 1h 43m
- **Certificate (MPA):** R
- **Release (the US):** 23 August 2024
- **Genres:** Horror, Mystery, Thriller
- **Budget:** $20 million
- **Box office:** $46 million
- **Trailer:** https://www.youtube.com/watch?v=jmCCQ80iAf8

## Where to watch in the US

- Amazon Prime Video: rent $3.99, uhd
- Apple TV: rent $3.99, hd
- Amazon Prime Video: buy $19.99, uhd
- Apple TV: buy $19.99, hd

*Checked 2026-09-10.*

Also available in: AT, AU, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, ES, FI, FR, GB, HR, HU, IE, IN, IT, MX, NL, NO, NZ, PL, PT, RO, RS, SE, SI, TR, US. Add `?region=XX` to this URL for another country.

## If you liked this

- *Get Out* (2017), Fi1m 89: The template this one works from, and it trusts its audience more. — [Fi1m page](https://film.one/film/get-out.md)
- *Rosemary's Baby* (1968), Fi1m 92: Everyone is so kind to her; that is the horror, and it never shouts. — [Fi1m page](https://film.one/film/rosemarys-baby.md)
- *Ready or Not* (2019): A rich family, a bride, a hunt; nastier and funnier about money than this.
- *The Invitation* (2015): A dinner party where something is off, held back until it can no longer be.
- *Triangle of Sadness* (2022), Fi1m 66: The very rich stranded and undone, with a stronger stomach for its own joke. — [Fi1m page](https://film.one/film/triangle-of-sadness.md)

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/blink-twice