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Mar 28, 2018 By Austin Trunick Photography by Austin Trunick Web Exclusive

The first thirty minutes of the sleek Gemini explore the complicated relationship between A-list starlet Heather (Zoë Kravitz) and her assistant, Jill (Lola Kirke). While Jill is on the actress’s payroll, she’s become Heather’s truest friend and closest confidant, and perhaps something more. The two hang out into the late hours, drink (too much) together, share a bed, all while Jill runs interference with angry producers and takes meetings for Heather. For its first act, Gemini is a complex study of an inappropriate relationship between a subordinate and their superior, and a rarely-seen female one. It’s hypnotically stylized, with many bold, neon colors against warm L.A. exteriors and a humming electronic score. The left turn twist that drives the next two thirds, however, feels so much more trodden than what precedes it.

A grisly murder at the start of the second act draws their relationship into question, even as to whether or not our protagonist, Jill, may be guilty of it. She’s hounded by a cerebral police detective (John Cho) and an unscrupulous paparazzo (James Ransone) as she scrambles to clear her name. Even if you’re not able to predict the ending well in advance, Gemini can feel like it’s killing time until the big reveal; each stop along Jill’s investigation supplies more obvious red herrings than clues. A fantastic cast and abundant style keep it interesting, but the underwhelming mystery at its core prevent it from being an absolutely necessary neo-noir.

Author rating: 6.5/10