More psychological drama than bloody horror, The Passenger focuses on its two leads, Randy (Johnny Berchtold) and Benson (Kyle Gallner), and the odd bond they form while on the run. Randy is held hostage by the violent Benson, but Benson only asks that Randy confront his trauma and realize his potential. They’re not quite friends, but as two broken people taking part in a broken society, they share a fondness for each other that complicates the typical captor-captive narrative. It’s not as raw or gritty or even as dark as you’d expect, and there are moments when the film meanders only to end up at a dead end. But it has profound things to say about trauma, healing, and second chances, and those turns, while unexpected, are also wholly welcome in this unassumingly powerful film.
"Even if this movie doesn’t achieve a great epiphany at the end of the darkest route, it offers a great showcase for Gallner in particular."
— Nick Allen
"Proves sneakily effective with its low-key approach to several kinds of violence."
— Michael Nordine
Randolph Bradley is perfectly content fading into the background, but when his coworker Benson snaps and goes on a violent killing spree, he’s forced to face his fears and confront his troubled past in order to find a way to survive.
When a coworker goes on a violent rampage, a hardworking but introverted young man must face his troubled past in order to survive.
The Passenger is stylish and moody, an excellently shot film that makes the most out of its limited budget. Neon lights can seem overused at this point, but here they’re not just saved for the best parts but savored too. We linger on Randy and Benson’s faces as they bask in the multicolored glow of police sirens and diner signs. They say nothing but manage to convey everything at that moment that stands out and haunts you long after the credits roll.
Sometimes, it really does take a death-defying moment for us to finally start breaking out of our shells.
Cannes
1 nomination
Berlin
1 nomination
