Capsule Reviews - 'Blink Twice,' 'The Crow' & 'The Instigators'

by Philip Price

Blink Twice

Photo: MGM

Taking the concept of a certain modern masterpiece and focusing more on class and gender than racial politics, Zoë Kravitz’s directorial debut “Blink Twice” means to illustrate the complicated web (wealthy) men weave to realize their simplest whims. Absolutes are always touchy, but the charismatic ensemble, crisp editing style and very intentional soundtrack and sound design let us know Kravitz means business both thematically and in terms of entertainment value.
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Most appealing about “Blink Twice” is Kravitz's clear obsession with image coordination and consistency, which allows the film an aura of cohesion that works with the themes of solidarity and women choosing to support rather than compete. Still, Kravitz (who also co-wrote the script) doesn't allow the elegance of her imagery to detract from the ugliness of her character's actions and the ideas they are used to signify. Kravitz says all men want/desire is for pretty women to indulge and praise them - even for our smallest wins - and while I won't necessarily argue the point, what she's really exploring and eventually dissecting is the power dynamic women have been conditioned to sustain with men and of course, naturally, how to break that dynamic.

Despite a not-so-subtle "burn it all down" act of symbolism in the final moments and the fact this will likely benefit from a second viewing, “Blink Twice” is far too contemplative and considered in its tone and compositions to be dismissed as little more than a #MeToo companion piece. A shot where Channing Tatum is framed in the background standing over a desk as Naomi Ackie cowers underneath in the foreground hits like a truck while a dinner table sequence in which so much is said, understood, and conveyed without a single line of dialogue being spoken crystalizes the core ideas of the film so well it almost didn't need the surrounding paragraphs of the movie to emphasize its point. Adding some Chaka never hurts, either.

As for specifics on the aforementioned charismatic ensemble, both the casting and performance of Geena Davis are a genuine highlight. Simon Rex has one job and makes the most of it. I wish there'd been more for Haley Joel Osment to do, but Adria Arjona continues to cement her star power and Baby Hawke No. 2 has some solid line readings, "What do you mean? We’re such nice guys!" There is an insert shot of Christian Slater that is just ... the best, while C-Tates remains one of the GOATs in a role that requires him to use his charming, comforting image in order to accomplish the most abusive and exploitative actions. It worked for me.

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The Crow

Photo: Lionsgate

Have you seen those videos of Cracker Barrel updating its classic look to more of the modern farmhouse style? And while watching it you can feel the soul that was once there being sucked from the establishment? That's kind of what watching this new version of “The Crow” feels like.

​In the 1994 film, Eric Draven was a rock musician, but he's barely a DJ in this new film.

Remember that movie “I, Frankenstein”?? Yeah, me neither, but Letterboxd tells me I saw it. I imagine my relationship to this movie will largely be the same.

Anywho. Brought to you by the guy who cheated on his wife with Kristen Stewart in 2012, this retelling of the story based on the 1989 comic book series by James O'Barr broadens the context and fills in details where the original film remained vague and, thus, more mysterious. Rupert Sanders’ film lacks the style - and frankly, the insanity - that allowed Alex Proyas’ film its distinctive flavor. The fleshing out and over-rationalizing of Draven’s myth does the opposite of what’s intended, making the character and his plight predictable and bland rather than enigmatic and epic.

The most epic thing in this version is the Enya needle drop. And I like Bill Skarsgård well enough, but my man tried to pull a Christian Bale here, and it didn’t work out. His final act and the climactic action sequence are generally pretty punk rock. Still, FKA twigs' Shelly going back to her friend’s apartment knowing the baddies are on her scent, those same bad guys not thoroughly disposing of a body they didn't want to be found ... there's just a lot of dumb decisions all the way around.

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The Instigators

Photo: Apple Studios

“The Instigators” is a buddy comedy with robbers instead of cops, but when the buddy chemistry is so effortless that the comedy grows organically from Matt Damon and Casey Affleck's camaraderie, the way it does, all Affleck's script and Doug Liman's direction had to do was be sturdy enough to support all the seasoning these two defining factors were adding to it — and they do, bountifully so.
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Having never been to Boston but I have to imagine “The Instigators” does a damn good job of making both Bostonians proud as well as making those not from the area get a real sense of what the city and its people are like. For example, the Massachusetts State Police picking fights with officers from Vermont after a failed car chase because neither could pin down the fugitives is some real "in the spirit of" shit.

These details are included in everything from the smallest character interactions to large-scale set pieces. They are so consistent and feel so precise that they are ultimately what separates the film from everything else in the otherwise (over)crowded genre.