Film Review: Passenger (2026)
Director André Øvredal’s film, Passenger, attempts to meld horror with road-trip thrills but ultimately misses the mark. Early scenes hint at potential, drawing on classic horror vibes from films like The Hitcher and Jeepers Creepers. The story opens with two friends on a late-night drive when they encounter a chilling figure. One friend sneaks off to the restroom, leading to eerie sounds and a suspiciously lifted car hood. It’s a gripping setup but unfortunately, the film fails to build on this initial tension.
The film caters to the primal fear of isolation that comes with driving on lonely roads. Yet, after its promising start, it swiftly loses direction. Unfamiliar faces like Jacob Scipio and Lou Llobell play the leads, delivering performances that lack the spark required to elevate the film. Top-tier actors might have avoided this project due to its weak script, riddled with predictable jump scares.
Llobell’s character, Maddie Brecker, shows glimmers of depth, supported somewhat by Scipio as her fiancé, Tyler. Together, they face the enigmatic antagonist dubbed “the Passenger,” played by Joseph Lopez. This character occasionally instills fright but is ultimately underdeveloped, lacking a compelling backstory that leaves audiences wanting.
Melissa Leo’s role as the knowledgeable Diana Larson feels heavily scripted. She’s the token character who knows the secrets to combating evil but doesn’t contribute significantly to the plot’s progression. The film often regurgitates worn-out tropes, such as hallucinations involving fictitious dead bodies on the road, which fall flat rather than evoke fear.
Øvredal has previously made notable films, including The Last Voyage of the Demeter, notable for its genuine character arcs. Here, however, Passenger struggles to maintain coherence and character development. Key moments seem to pop out of nowhere, as the plot rushes towards an unsatisfying climax in a burning church, where characters conveniently reappear just in time.
Despite its shortcomings, Passenger does showcase some interesting moments, particularly between its young leads. However, the rushed narrative offers little room for genuine connection or development. For a horror film, it fails to capitalize on what the genre does best: build tension and maintain intrigue.
Comparing Passenger to its predecessors like Joy Ride, one can see how the latter expertly captured the essence of its story through character development and genuine suspense. In contrast, Passenger feels like an exercise in futility, ultimately disappointing even the most forgiving horror fans. In today’s landscape, films that assume the title of horror must engage and captivate—Passenger simply doesn’t deliver.
Rating: 4.5/10
