Passenger, 2026.
Directed by André Øvredal.
Starring Jacob Scipio, Lou Llobell, and Melissa Leo.
SYNOPSIS:
After a young couple witnesses a gruesome highway accident, they soon realize they did not leave the crash scene alone, as a demonic presence called the Passenger won’t stop until it claims them both.
There is just enough of a metaphor in how the rules of the horror in director André Øvredal’s haunted vehicle flick Passenger relate to the relationship drama between van-life couple Tyler and Maddie (Jacob Scipio and Lou Llobell, respectively), and, of course, the usual generic investigation into the lore behind such a demonic presence, but most importantly, the right amount.
It never becomes so much that the film forgets to be scary or flat-out becomes a relationship drama, sticking to more to a nuts-and-bolts thrillride, no pun intended. Admittedly, parts of this don’t exactly help the film (given the screenplay by Zachary Donohue and T.W. Burgess), especially with its paper-thin characterization. However, Passenger more than makes up for its shortcomings with a series of chillingly effective, strikingly shot nighttime road set pieces that gradually build momentum and eventually become relentless.
What makes this somewhat involving on the narrative level is that Tyler and Maddie are 6 weeks into quitting their current lives in search of the freedom of living in a van and driving wherever life takes them. A decision they made together, it is something they both wanted at first, but as the honeymoon phase begins to wear off, Maddie begins wondering if this was the correct life choice.
We don’t learn enough about these characters or this relationship to know if there are problems per se, although it becomes apparent that this life, perpetually on the road that seemingly grants boundless freedom, could also be perceived as a trap and a means of deflecting from whatever else they should be working through. The small communities the characters come across are lovely and depicted as such, but something about this feels like running more than living.
For now, Tyler and Maddie will have to keep running, or rather driving, as one of those nights they casually oversaw the damage leftover from a car wreck on a mostly empty road, unbeknownst that the driver was being terrorized by a demonic entity known as The Passenger (creepily depicted and played by Joseph Lopez under a heap of prosthetics that appear to be digitally enhanced for maximum spooky effect.
Such details of that torment are seen as part of an extended prologue before flashing back six weeks to our central couple and how they ended up witnesses to the carnage, which is an aspect that seemingly could have been handled more tightly, cutting back and forth between characters until their paths crash into one another, making for less downtime in the early goings.
Nevertheless, the demon has latched itself onto Tyler and Maddie, placing them under circumstances where they must figure out how and when it attacks, something that mostly amounts to driving without stopping at night while being spared during the daytime. Naturally, it is in those moments that the drawbacks of this van-life transition into metaphorical horror. Fret not, though, as Passenger is mostly filled with claustrophobic terrors amid a unique spin on hauntings. Primarily shot at night, the filmmakers also make the most of reflective surfaces and flashing lights to style up the cinematography, simultaneously elevating the tension.
The characters must also learn to fight back against this demonic presence, which comes with a corny solution that is telegraphed from the early goings. Still, the suspense here in Passenger, alongside solid craftsmanship that leaves you rooting for the survival of these characters, even through some of their clichéd, dumb moments. The film also ends with a cover of The Passenger playing over the end credits, as it should, which is worth at least half a star.
Flickering Myth Rating– Film: ★ ★ ★ / Movie: ★ ★ ★
Robert Kojder
