You can tell Zoe Kravitz has been taking notes. From Jordan Peele, mostly. As a first time director, she is showing real promise, even if we're not quite sure just yet whose promise it is, such is the reverence for those who have successfully come before her.
At this rate, I am definitely leaing towards her staying behind the camera from now on, regardless.
Not just Peele either. The influences are many and varied. From Saltburn to Aster's Midsommar, appealing hedonistic drug-addled ecapism from the usual humdrum is uppermost throughout.
Channing Tatum is an unusual choice with a character that quietly hints at "come to me, you lovely young thing" maybe slightly too lasciviously to be comfortable, but the golden ticket winners he invites to his private island hideaway with a sparkling smile, littered with unused charm, are seemingly grateful enough to join him without too many questions being asked about the whole affair. Young hearts do indeed run free, it seems.
We can see through this for what it is, even if it isn't so unsubtle as Ruben Östlund's Triangle of Sadness about pointing it out. Kravitz is still an unknown quantity, audience wise, and she is clearly trying to establish a fierce, independent bent that Emerald Fennell would be proud of.
Things turn to shit as only they can given the opportunity to act vicariously and seemingly without consequence. The best prey are those that don't know they are being hunted in the first place, after all.
Kravitz has assembled a hell of a cast, giving them the chance to really let loose and the likes of Geena Davis, Haley Joel Osment and Christian Slater take full advantage.
Watchable and engaging and a great first effort from Kravitz, despite it being a little obvious and unoriginal, inspired by some great film-makers which is no bad thing.
Let this be a lesson, however, to those accepting welcome from strangers bearing exquisite fruit.
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