A cocktail waitress (Naomi Ackie) accompanies a disgraced tech billionaire (Channing Tatum) to his private island, where she slowly realises that partying with tech bros is exactly as fun as it sounds.

Directed and co-written by Zoë Kravitz, Blink Twice is as horribly misguided as its oblivious characters. Not only do they voluntarily accompany a complete stranger (who has had to publicly apologise for previous indiscretions) to a private island, upon arrival they are met with more red flags than a football match between Denmark and Switzerland. They have their phones confiscated, are made to wear matching white bikinis, and the local staff all have mysterious snake tattoos. At first they think it’s just another snake cult, but after several nights of drug-fuelled partying they realise they have no memory of what happens to them at night.

There aren’t really any spoilers to divulge as the #MeToo messaging plays out literally, forgetting to use any of the allegory or ideas or basic logic that made Get Out the template for this type of film. Even if we assume these people have been targeted for their complete lack of sense, the idea that no one would notice they were missing (among them are lawyers and reality stars) makes you think twice about Kravitz’s own grip on reality.

Of course if the characters were the young, vulnerable girls manipulated by the likes of Charles Manson and R. Kelly the film would be darker, but this shying away from the horrors of systemic sexual abuse is part of the problem. Rather than a horror movie or psychological drama, Blink Twice is packaged as a glossy, streaming-friendly comedy-thriller. In fact the only reason it got a cinematic release are the names attached, including Geena Davis, Kyle MacLachlan and Haley Joel Osment, all wasted in every sense. And its approach might work if the movie had the comic nous to address its dark subject matter, but the hack dialogue (“I need a vacation.”) and idiotic plotting leaves you wanting another apology at the end.