Passenger Review: A Disappointing Highway Horror
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Roadside Attractions: The Disappointing Reality of Horror on the Highway
The horror genre has evolved significantly in recent years, transitioning from late-night cable fare to mainstream cinema. A24 and Blumhouse have led this resurgence, championing creative, thought-provoking terror that resonates with audiences long after the credits roll.
André Ovredal’s latest effort, Passenger, fails to meet expectations despite an intriguing premise: a young couple embarks on a road trip, only to be stalked by a malevolent force. However, as the film unfolds, it becomes clear that Ovredal relies more on jump scares than genuine suspense.
The cast is not the problem – Melissa Leo brings intensity and depth to her brief but memorable turn as Diana – but rather the underdeveloped characters and lack of thematic depth. The story follows a familiar pattern with no surprises or twists to keep viewers engaged. Instead, tired tropes and clichés dominate the narrative, reminiscent of ’70s B-movies.
Ovredal’s previous work on The Autopsy of Jane Doe and Scary Stories to Tell in the Dark demonstrated a keen understanding of pacing and atmosphere, crafting tension that was both palpable and unsettling. In contrast, Passenger feels like a lazy exercise in terror, relying on tired tricks rather than genuine creativity.
The reliance on cheap thrills is particularly disappointing given Ovredal’s track record. It raises questions about the state of horror as a whole: has the genre become too reliant on formulaic storytelling, sacrificing originality for shock value? Or are there simply more risks being taken elsewhere in the industry?
Horror audiences crave substance, characters they can root for, and genuine unease that lingers long after the credits roll. While Passenger may not be the worst offender – there are certainly worse films being made these days – it’s a missed opportunity nonetheless.
As horror continues to evolve and mature, Ovredal’s decision to play it safe is all the more disappointing. The highway may be full of danger, but it’s also a road that’s full of possibilities. With more risk-taking and innovation, perhaps we’ll see a new wave of terror that truly lives up to its potential.
Passenger remains a cautionary tale about what happens when horror becomes too formulaic, predictable, and reliant on cheap tricks rather than genuine suspense. As the credits roll on this underwhelming effort, it’s hard not to wonder: what other roadside attractions are lurking just off the beaten path?
Reader Views
- ANAria N. · street photographer
While I agree that Passenger falls flat, I think we're overlooking the elephant in the room: Ovredal's clear attempt to cash in on the '90s horror revival trend is a cynical move, rather than a genuine creative misstep. The film's reliance on familiar tropes and clichés can be seen as a calculated risk to appeal to a broader audience, rather than a genuine effort to innovate within the genre. This raises questions about the commercialization of horror and whether we're sacrificing artistic integrity for box office potential.
- TSTomás S. · wedding photographer
The Passenger review raises valid concerns about horror's shift from innovative storytelling to formulaic scares. What's often overlooked is the impact of this trend on local film productions and emerging talent. As a photographer who frequently collaborates with indie filmmakers, I've seen firsthand how underwhelming box office results can discourage new voices from taking creative risks. With A24 and Blumhouse cornering the market on horror, it's becoming increasingly difficult for smaller films to stand out, let alone explore unconventional themes or approaches that might alienate more mainstream audiences.
- TLThe Lens Desk · editorial
The article raises valid concerns about Passenger's reliance on jump scares over genuine suspense, but what's often overlooked is the economic pressure behind such filmmaking decisions. With horror movies consistently underperforming at the box office, studios are more inclined to play it safe with familiar formulas rather than investing in riskier, more innovative projects. This cycle can lead to a homogenization of the genre, stifling creativity and originality. The industry needs to rethink its priorities if it wants to attract audiences craving substance over shock value.