IN THE BLINK OF AN EYE -- An Ambitious Wonder, Flawed to Its Core

Review by Chadd Clubine

In the Blink of an Eye will likely slip quietly under the radar. It’s difficult to imagine the film even attaining cult status, as it proves to be as bland as it is ambitious. Sharp-eyed viewers may recognize director Andrew Stanton from his celebrated work at Pixar, including WALL-E, Finding Nemo, Finding Dory, and the upcoming Toy Story 5. On paper, this project appears to be an intriguing departure from his usual territory, and the ambition behind it is evident. Unfortunately, by the time the film’s central idea fully comes into focus near the end, it’s essentially over. Rather than landing with impact, the late reveal leaves viewers questioning what the film was building toward all along.

Set across three distinct timelines, the film weaves together three separate yet thematically connected stories. The first centers on a family of prehistoric humans struggling to survive in a harsh, primal world. The second follows the characters played by Rashida Jones and Daveed Diggs as they meet and fall in love in the present day. The third storyline tracks Kate McKinnon as a lone traveler journeying through the vastness of space. Ambitious narrative structures like this do not always cohere, yet the film ultimately succeeds in leaving audiences with resonant reflections on the meaning of life and human connection. It feels especially fitting for a filmmaker like Stanton to tackle material of this scope. The movie has been cited as drawing inspiration from 2001: A Space Odyssey, Magnolia, and Interstellar, while its cross-cutting between timelines also evokes the structure of Cloud Atlas. Each of those films has, in its own way, achieved classic status. However, given this film’s short runtime and comparatively modest impact, it is unlikely to reach the same heights as those landmark works.

The film finds its strongest moments within the storyline shared by Rashida Jones and Daveed Diggs, as well as in the eventual reveal that ties everything together. Jones and Diggs are inherently likable performers, and their natural chemistry provides the movie with much-needed warmth and momentum, keeping it engaging even when the broader narrative begins to drift. By contrast, the prehistoric storyline struggles to leave a lasting impression outside of its role in the conclusion—perhaps a result of its limited emotional grounding and absence of recognizable star power. Meanwhile, the space-set arc centered on Kate McKinnon offers a glimpse of a more restrained, dramatic side of her abilities. Still, it never fully lands, at times feeling slightly miscast or underdeveloped. As the film continually cuts between timelines, it becomes increasingly difficult to discern its ultimate direction. When the final revelation arrives, it is undeniably inventive and intriguing. However, the impact is softened by a rushed execution, causing what should be a powerful culmination to feel somewhat diminished.

Principal photography began in March 2023 and wrapped just two months later in May. With Thomas Newman composing the score, and a seasoned creative team both in front of and behind the camera, the project appeared poised for success from the outset. Given that Andrew Stanton is also set to direct Toy Story 5, it is particularly interesting to see how this film has taken shape—especially since it, too, falls under the Walt Disney Company banner. Stanton’s continued collaboration with Disney suggests a strong working relationship, one that has endured even after the commercial disappointment of John Carter. Three years after filming concluded, the movie finally saw the light of day. Given its muted buzz and uncertain commercial prospects, it likely would have struggled both critically and financially in a theatrical run. Opting for a streaming release ultimately feels like the most strategic decision—an effort to preserve and perhaps rediscover the potential the film once promised.

The film might have been better served as an episode of Black Mirror, where its high-concept ideas and technological themes could have been explored with greater focus and precision. In its latter half, the story leans heavily into questions about technology and the direction of humanity, suggesting it has something urgent to say about where we are headed. Yet it never fully commits to a clear perspective. It remains uncertain whether the film is arguing that technological advancement is pushing us backward or that human connection remains our only true evolutionary force. Just as it seems poised to offer a definitive statement, it instead pivots to a heavy-handed cosmic image meant to encapsulate the meaning of existence. Rather than delivering clarity, the moment feels abrupt and unearned—less like a profound conclusion and more like a vague gesture into the void.

Despite its shortcomings, the film is undeniably well-crafted on a visual level. The cinematography strives for a sweeping, cinematic scope, lending the story a sense of grandeur that may ultimately work in its favor as a streaming release. Even so, the three-year gap between production and release speaks volumes about the studio’s confidence in the final product. While the storyline anchored by Rashida Jones and Daveed Diggs provides the film with its emotional backbone, their performances alone are not enough to carry it across the finish line. Not even the unexpected conclusion fully compensates for the narrative’s uneven execution. At this point, it may be fair to suggest that Andrew Stanton is at his strongest working in animation rather than live-action—a medium where his storytelling instincts have historically flourished.

In the Blink of an Eye streams on Hulu February 27th!

Rating: 2.5/5