movie review the passenger 2023

‘The Passenger’ Review: A Low-Key But Sneakily Effective Blumhouse Thrill Ride

Carter Smith's pared-back thriller stars Kyle Gallner and Johnny Berchtold as co-workers on an uneasy road trip.

By Michael Nordine

Michael Nordine

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Reviewed online, aug. 2, 2023. running time: 99 min..

• Production: A Paramount Home Entertainment, MGM+ presentation of a Blumhouse Television, MGM+ production. Producers: Paige Pemberton, Paul B. Uddo. Executive producers: Jason Blum, Chris McCumber, Jeremy Gold, Lauren Downey. Co-executive producers: Chris Dickie, Jordanna Guarino.
• Crew: Director: Carter Smith. Screenplay: Jack Stanley. Camera: Lyn Moncrief. Editor: Eric Nagy. Music: Christopher Bear.
• With: Kyle Gallner, Johnny Berchtold, Liza Weil, Billy Slaughter, Matthew Laureano, Jordan Sherley, Kanesa Washington, Lupe Leon, Merah Benoit.

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The Passenger (2023) Review – a low-budget thriller that exceeds all expectations

The Passenger does contain brief moments of violence and gore, but it would be unfair to call this a horror flick. Instead, viewers are treated to a surprisingly impressive psychological thriller featuring stand-out performances from leads Kyle Gallner and Johnny Berchtold.

Here is our review of the 2023 MGM+ movie The Passenger, which does not contain significant spoilers.

The Passenger is a low-budget horror movie to be released by Blumhouse Productions, the hugely successful production company behind lucrative horror franchises such as Paranormal Activity , Insidious , and The Purge .

This MGM+ original film from director Carter Smith ( The Ruins ) and writer Jack Stanley ( Lou ) may have been advertised as a horror movie, but it only includes very brief moments of violence, concentrating instead on the psychology of our lead character as he is forced to atone for his past mistakes.

The Passenger (2023) Review and Plot Summary

The lead character in question is Randy Bradley ( Johnny Berchtold ), a shy 21-year-old outcast who works at the local burger joint. He lets the adults in his life control his every move, and his youthful coworkers walk all over him.

This is made painfully clear when fast food employee Chris, your stereotypical bully, forces Randy to eat a stale, out-of-date burger.

This minor incident triggers something deep and profound inside coworker Benson ( Smile star Kyle Gallner ), who decides to help Randy better his pathetic life after he embarks on a gory and violent rampage in the store.

Benson practically takes Randy hostage at this point, bundling him into his car as the unlikely duo road trip across a desolate landscape with no set plan in mind. The psychotic killer pressures Randy into confronting his own murky past in the hopes that he can bring out the real hero inside of him.

This involves Randy facing his past head-on as some twisted form of exposure therapy. Randy and Benson meander through the rest of the film, interacting with important people from their pasts in search of meaning and purpose in their own dreary lives.

Exploring themes of neglected childhood trauma in the process.

Of course, Benson is an unpredictable guide on this journey and the very definition of a loose cannon who looks set to flip at any given moment. The filmmakers milk this character trait to the max, building unease in the final third as Benson’s confidence starts to wane.

But can Randy find the courage to save himself from this unhinged killer after all?

Is The Passenger (2023) good or bad?

The Passenger is a competently crafted, small-scale movie that makes the most of its low-budget and minimalist plot structure. The characters are well-written, and the acting from our two leads, Berchtold and Gallner, is surprisingly effective.

Their authenticity and onscreen chemistry really elevate the script and the film’s underlying messages. There is nothing amateurish about this project whatsoever, although on paper, it may have seemed that way, what with the infamous track record of low-budget horror films.

The Passenger isn’t without its faults, though. After the exciting opener, the movie loses its way somewhat in the poorly paced middle section, struggling to adjust to its new road movie setting. Yet, if you stick with this film to the very end, you will be rewarded with a tense finale and some genuinely emotional character development.

Is The Passenger (2023) worth watching?

Available to stream now on MGM+ or to rent online, The Passenger is a hard one to recommend to film fans when there is so much choice out there. But I think it is important to support these kinds of small-budget movies that attempt to transcend the limitations of their genre and scope in the pursuit of greater meaning.

What did you think of the 2023 MGM+ movie The Passenger (2023)? Comment below.

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Article by Adam Lock

Adam Lock is a highly experienced Freelance Entertainment Writer who has written for Ready Steady Cut since January 2022. He is passionate about all things film and TV-related and has devoted his time to tracking streaming content on his social media.

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The Passenger Reviews

The climactic diner scene sums up the film as a whole; tight, tense and dialogue-heavy with two young actors wonderfully playing off each other, led by a delightfully dark Gallner.

Full Review | Oct 5, 2023

A sinister joy ride about reclaiming the driver's seat.

Full Review | Original Score: 3.5/5 | Aug 22, 2023

There are simply too many scenes with Benson pointing a gun at people and yelling, “Shut the f— up!” After a while, it feels rote and rehashed in a movie that was anything but up to that point. Even with the road bumps, it’s a thrilling ride overall.

Full Review | Aug 18, 2023

Ultimately, The Passenger makes itself passive to its characters’ reality, and in turn, renders us passive observers of the outcome.

Full Review | Aug 15, 2023

The Passenger is a competently crafted, small-scale movie that makes the most of its low-budget and minimalist plot structure. The characters are well-written, and the acting from our two leads, Berchtold and Gallner, is surprisingly effective.

Full Review | Original Score: 3/5 | Aug 10, 2023

...apart from its occasional violence (which is raw and overt but gets milder as the plot progresses), The Passenger is more of a clever character drama determined to offer a profound observation and analysis on trauma, forgiveness, and free will.

Full Review | Aug 9, 2023

There may not be a point to the destructive journey, but there's a bit of stylish catharsis, at least.

Full Review | Original Score: B- | Aug 8, 2023

An incredibly intense and dour film, director Carter Smith’s The Passenger is essentially a two-handed character study that not only gets deep into the disturbing psyche of a certain element of modern America but also their broken lives.

Full Review | Original Score: 4/5 | Aug 7, 2023

Amazing performances all around and Kyle Gallner constantly pushes his acting boundaries. Powerful stuff.

Full Review | Original Score: 8/10 | Aug 7, 2023

Kyle Gallner keeps popping up on my radar. He is getting some attention from Hollywood.

Full Review | Original Score: 6/10 | Aug 6, 2023

Smith’s film is a horrific look at how the capitalist workforce trains people to be submissive, to be abused, and also how the family can often act as the breeding ground to prepare kids to grow into submissive adults.

Full Review | Original Score: 3.5/5 | Aug 4, 2023

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.

Full Review | Original Score: 3/4 | Aug 4, 2023

From a technical aspect, The Passenger is good. It’s sadly just a movie I could never recommend. You’re better off going for a drive.

Full Review | Original Score: 2/4 | Aug 4, 2023

The initial dark thrills soon give way to a pondering yet perilous path as it gets increasingly lost in a wandering experience too well-acted to dismiss as boilerplate while still lacking a greater vision to ensure it rises to its full potential.

Full Review | Original Score: B- | Aug 4, 2023

Lean, mean and bloody.

Full Review | Original Score: 6.5/10 | Aug 3, 2023

This oddball combination of bloody thriller and peculiar therapy session...doesn’t make an awful lot of sense, but Kyle Gallner and Johnny Berchtold make its odd couple pairing compelling [despite] illogical narrative underpinnings and lethargic pacing.

Full Review | Original Score: C+ | Aug 3, 2023

Kyle Gallner gives a career-best performance in a road thriller that certainly takes inspiration from The Hitcher. Unfortunately, the story too often meanders in mundane conversations and events until it wraps up in a rather unsatisfying climax.

Full Review | Original Score: 2.5/5 | Aug 2, 2023

Proves sneakily effective with its low-key approach to several kinds of violence.

Full Review | Aug 2, 2023

The Passenger makes most of minimal trappings. The psychological thriller explores the depths of passive and violent extremes, with shocking bursts of visceral violence.

Emotion drives the film forward. There is a surprising lack of urgency is some scenes, but everything is geared towards the bigger narrative. As bloody as things get, it is about two people who are on a journey for growth – whether they want it or not.

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The Passenger Review: A Gripping Journey Through Fear and Survival

In the realm of psychological thrillers, The Passenger emerges as a gripping exploration of fear, survival, and the haunting power of one’s past. The film masterfully delves into the depths of the human psyche, immersing the audience in an intense narrative that keeps them on the edge of their seats.

At its core, The Passenger unravels the life of Randolph Bradley, a man seemingly content with blending into the background, until the shocking eruption of violence by his coworker Benson shatters the facade of normalcy. As Randolph’s world spirals into chaos, the film embarks on a roller-coaster ride of suspense and self-discovery. Johnny Berchtold portrays Randolph with remarkable subtlety, effectively conveying the inner turmoil of a character forced to confront his deepest fears and confront a troubled past he had long suppressed.

Kyle Gallner delivers an extraordinary performance as Benson, the catalyst of the chaos that engulfs the story. Gallner’s portrayal is nothing short of chilling, as he seamlessly transitions from an ordinary coworker to a cold-blooded killer, displaying a menacing unpredictability that adds an electrifying layer to the film. His portrayal of a man unhinged is both unsettling and captivating, a testament to Gallner’s acting prowess.

Liza Weil ‘s portrayal of Miss Beard, a key figure from Randolph’s past, adds a layer of complexity to the narrative. Weil brings a nuanced mix of mystery and vulnerability to her character, becoming an essential puzzle piece in Randolph’s journey towards understanding his past and finding a way to survive the impending danger.

Director Carter Smith’s masterful handling of tension and suspense in The Passenger is truly commendable. The film’s pacing allows for an immersive experience, allowing the audience to resonate with Randolph’s growing unease and the impending danger that lurks around every corner. Smith’s use of visual cues, such as dimly lit corridors and ominous shadows, accentuates the film’s eerie atmosphere, perfectly complemented by a hauntingly evocative musical score that further intensifies the sense of impending doom.

One of the film’s standout achievements lies in its exploration of the human psyche and the concept of fear. The intricate character development of Randolph Bradley is a case study in itself, as the audience witnesses his transformation from a timid individual to a resilient survivor. The film raises thought-provoking questions about the nature of fear and the lengths one is willing to go to overcome it. Through its characters, The Passenger urges viewers to confront their own fears, mirroring the characters’ journey in a deeply relatable manner.

In terms of visual aesthetics, the film’s cinematography is a visual treat. Cinematographer Lyn Moncrief captures the bleak urban landscape with a keen eye, highlighting the stark contrast between Randolph’s mundane world and the chaotic events that unfold. The use of color and framing serves as a visual metaphor for Randolph’s internal journey, subtly reflecting his changing emotional state as the story progresses.

The film’s climactic sequence is a tour de force of suspense and emotional catharsis. As Randolph and Benson’s paths intersect one final time, the tension reaches a fever pitch, culminating in a heart-pounding showdown that encapsulates the film’s central themes of fear, survival, and redemption. The resolution is both satisfying and thought-provoking, leaving the audience pondering the intricate web of human psychology long after the credits roll.

While The Passenger excels in many aspects, there are moments when the pacing becomes slightly uneven, particularly in the second act. Some scenes could have benefited from tighter editing to maintain the film’s overall tension. However, this minor flaw does not overshadow the film’s overall impact and effectiveness in delivering a compelling narrative.

The Passenger is a triumph in the realm of psychological thrillers, offering a gripping narrative that skillfully navigates the depths of fear, survival, and the human psyche. With stellar performances from Johnny Berchtold, Kyle Gallner, and Liza Weil, coupled with Carter Smith’s adept direction, the film stands as a must-watch for enthusiasts of the genre. While minor pacing issues arise, they do little to detract from the overall impact of this haunting and thought-provoking cinematic experience. The Passenger is a journey that delves into the shadows of the mind, urging audiences to confront their fears and discover the strength that lies within. The Passenger is a journey that delves into the shadows of the mind, urging audiences to confront their fears and discover the strength that lies within.

• Acting - 9/10 9/10
• Cinematography/Visual Effects - 8/10 8/10
• Plot/Screenplay - 8/10 8/10
• Setting/Theme - 8/10 8/10
• Watchability - 8/10 8/10
• Rewatchability - 7/10 7/10

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The Passenger (2023)

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What it's about

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.  

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Review: ‘The Passenger’

A sharp, tightly-paced psychological thriller that emphasizes character over shock value, drawing out two powerful, unforgettable performances from leads Johnny Berchtold and Kyle Gallner in the process.

The presence of the Blumhouse logo always places certain expectations on a movie: scary, tense and thrilling, with a tried-and-tested, if overly familiar formula and jumpscares galore. The Blumhouse mantle has become, for better or worse, a brand in and of itself, a franchise or cinematic universe of its own spurred by films such as Paranormal Activity , Insidious , Happy Death Day and The Purge with a built-in audience that comes to see these movies fully knowing what they’re in for. The Passenger , the latest film from director Carter Smith that was produced by Blumhouse under their new TV banner, is the rare Blumhouse movie that does not fit that formula; a sharp, tightly-paced psychological thriller that emphasizes character over shock value, drawing out two powerful performances from leads Johnny Berchtold and Kyle Gallner in the process.

The Passenger centers on Bradley (Berchtold), a young man fresh out of high school who works at the local fast food joint in order to make ends meet. Frequently picked on by his co-worker Chris ( Matthew Laureano ) and micromanaged by his overbearing manager, Bradley’s only friend (if you can even call him that) at work is Benson (Gallner), the shady, secretive line cook who seems to have no goals or prospects, content with living his day-to-day life in a boring routine. One day, after witnessing Bradley being bullied by Chris, Benson takes matters into his own heads, leading to a brutal confrontation that will forever change the lives of both men as they know it. As he tries to outrun the consequences of his actions, Benson takes Bradley hostage as he goes on the run, with the latter desperately looking for a way out of his predicament.

Berchtold, who has delivered two impressive performances in indie dramas A Hard Problem and The Forbidden Wish , and was most recently seen in touching Netflix comedy Dog Gone , turns in what should ideally be a star-making turn as a meek young man who finds himself in an extremely precarious situation. Quiet, haunted and withdrawn, Bradley is not the most talkative or animated of characters but Berchtold manages to make him as incredibly dynamic as possible, with a complex, nuanced performance that is as empathetic and incisive as it is relatable and accessible. Berchtold digs deep into his character’s psyche, managing to effectively communicate Bradley’s tumultuous personal journey and inner turmoil with glances, stares and his body language alone, emerging with a haunting portrayal of guilt and isolation that will stay with viewers far after the credits roll.

Gallner, playing what initially appears to be Bradley’s foil, is in top form as the rabid and unpredictable Benson, who carries shades of Travis Bickle from Taxi Driver or Lou Bloom from Nightcrawler . At once both charming and repugnant, charismatic and off-putting, it is a supremely chaotic, tour-de-force of a performance that has to be seen in order to be believed. And while Benson could have easily been an irredeemable, abhorrent caricature in the hands of a lesser actor, Gallner is still able to make audiences sympathize with him even though Smith and screenwriter Jack Stanley don’t make it easy for him at all. Not much of a backstory is assigned to the character; instead, viewers have to read between the lines to discover what makes Benson tick as violently and furiously as he does, and Gallner helps as much as he can, conveying his character’s innermost thoughts and darkest secrets through an intensely intimidating physicality that says so much without verbalizing any of it at all.

And while Benson and Bradley may be worlds apart in terms of initial characterization, there is a duality of sorts to them that is driven by the impressive chemistry between both actors. Benson represents what Bradley could easily turn into if he has just one more bad day, and it’s fascinating to see the inner battle Bradley faces as he tries to figure out whether he wants to stick with Benson or return to life as he once knew it. Most importantly, however, Smith and Stanley never once asks us to place judgement on these characters no matter how dark or twisted their actions get. Instead, they try to make viewers understand what could cause a person to become as unhinged and ruthless as Benson seemingly is, and they mostly succeed, thanks to a layered, nuanced script and careful, empathetic direction.

Overall, The Passenger is an impressive acting showcase for its leads that may be small in scale but never in effectuality. A dark, dramatic character study above all else, it is always engaging and engrossing. And as brutal as it may get at times, the violence is never overdrawn or pervasive; Smith uses it sparingly throughout the film so that when it does hit, it truly makes an impact. While the film may be end up losing some of the gas in its tank as it reaches its final destination, it’s still a thrilling, surprisingly nuanced ride that will leave viewers on the edge of their seats until its surprisingly heartfelt conclusion.

The Passenger debuts on VOD on August 4, 2023.

‘The Passenger’ Review: A Harrowing Look At Toxic Masculinity

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Between Swallowed from earlier this year and his newest film The Passenger , director Carter Smith has proved his ability to create terrifying yet touching portraits of male intimacy as its most grotesque. But with The Passenger , Smith looks not at sexual intimacy, but at male friendship and the strange forms it can take, especially in a patriarchal society. Smith’s film, directed from a beautiful script by Jack Stanley , is a complex look at the ways the world has failed young men and the ways they try to find love and compassion in destructive ways.

Randy (Johnny Berchtold) is an incredibly reserved guy who works at a local fast-food restaurant. He doesn’t have many friends and his mom is an overbearing force who just through the phone zaps Randy of all his energy. One day, when he talks back to a co-worker and refuses to defend himself, another co-worker Benson (Kyle Gallner) grabs a gun from his car and shoots their co-worker and his girlfriend. Benson tells Randy they have a few hours until the cops come, so let’s go for a drive. What follows is perhaps one of the most beautiful and heart-breaking road movies I’ve ever seen.

Also Read: ‘Sorry Charlie’ Is Effective Urban Legend Horror [Popcorn Frights 2023 Review]

Stanley’s script takes Benson and Randy from becoming incel stereotypes to more complex characters who both were failed in some way by the numerous systems that uphold toxic ideals of what it means to be a “man”. Benson is more than a rogue shooter, but a guy who knows he’ll never escape his fate, so why not try to make the best of his final hours? Yes, the film makes him sympathetic, but never really excuses his behavior. Benson by no means is a hero, but he is also given more depth than just a violent guy. Somehow, you almost fall in love with this young dude who really just wants to save Randy from the same fate. But the only way he knows how to do that is through violence and anger.

So often in cinema, male friendships are often played as jokes with all of the men being toxic predators or with no real depth at all. The Passenger is a drastic shift in that paradigm. While Randy and Benson only really spend one life-changing afternoon together, they are bonded not just by trauma but by a tentative yet exciting friendship that you can see through the initial terror of the situation. Is such a friendship well-advised? No, but The Passenger is never endorsing behavior. Rather, it more functions like a cautionary tale of sorts, of what happens when young men are ignored and silenced in the name of masculinity.

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Gallner’s performance as Benson is perfection. Gallner is a contemporary horror staple and here his acting chops really shine. In The Passenger , Gallner is really given the space to show off his emotional range and just how terrifying he can be, while also giving off a strange warmth. Berchtold is the perfect foil to Gallner’s chaos, a quiet, trembling form that you know is bubbling with rage. He is a figure of repression, what happens when you think turning yourself off from the world will keep you safe? But that silence can be just as destructive as outward rage, which Benson wants to prove, with his unorthodox and violent methods.

The Passenger is an example of the kind of filmmaking and stories that deserve to be told. Was it a risk for Blumhouse and MGM+? Absolutely. But in the perfectly capable hands of Smith and Stanley, this violent yet tender look at male friendships and breaking cycles speaks to the deeply ingrained issues of our patriarchal society. It’s a road movie but darker, a buddy comedy but without the comedy. The Passenger is one of the best and most beautiful films of 2023 so far, a crucial portrait of male platonic intimacy and violence in an increasingly bleak world.

The Passenger is one of the best and most beautiful films of 2023 so far, a crucial portrait of male platonic intimacy and violence in an increasingly bleak world.

Categorized: Reviews

The Passenger Movie

Who's Involved:

Liza Weil, Kyle Gallner, Carter Smith, Johnny Berchtold, Merah Benoit, Morgana Shaw

Release Date:

Friday, August 4, 2023 VOD / Digital

Plot: What's the story about?

Randy (Johnny Berchtold) is perfectly content fading into the background. But when his coworker Benson (Kyle Gallner) goes on a sudden and violent rampage leaving a trail of destruction in his wake, Randy is forced to face his fears and confront his troubled past to survive.

4.60 / 5 stars ( 5 users)

Poll: Will you see The Passenger?

Who stars in The Passenger: Cast List

Kyle Gallner

Strange Darling, Smile 2  

Johnny Berchtold

Snow Falls, Dog Gone  

Smiley, Women is Losers  

Merah Benoit

Morgana Shaw

Who's making The Passenger: Crew List

A look at the The Passenger behind-the-scenes crew and production team. The film's director Carter Smith last directed Swallowed and Jamie Marks is Dead .

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• 2023 - June : The film was set to Completed  status.

The Passenger Release Date: When was the film released?

The Passenger was a VOD / Digital release in 2023 on Friday, August 4, 2023 . There were 16 other movies released on the same date, including Meg 2: The Trench , Shortcomings and Passages .

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• Thu., Dec. 21, 2023 from Radiant Films
• changed the US film release date from TBA 2023 to TBA
• Sat., Jul. 1, 2023
• added a running time of 99 minutes
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Movie review: 'The Passenger' captures tense, fraught road trip

LOS ANGELES, Aug. 2 (UPI) -- The Passenger , coming to video-on-demand Friday, makes the most of confined, limited settings and a small cast. The thriller generates exponential thrills through the complex dynamics between its intimate cast of characters.

Benson (Kyle Gallner) stands up for co-worker Randy Bradley (Johnny Berchtold) at a fast-food restaurant when Chris (Matthew Laureano) bullies him. Then, Benson decides he's had enough and opens fire on the staff, sparing only Randy. Advertisement

Benson brings Randy on a road trip, estimating they have hours before anyone returns to the restaurant to find evidence of his crime.

Randy is in quite a dilemma. Benson spared him, but he's also stuck. It's not like Benson could let a witness go, so Randy has to go along with the getaway without upsetting the volatile Benson to risk any further violence.

Benson takes a personal interest in Randy, realizing Randy's potential if he would only gain some confidence. Of course, this is a mighty twisted method of motivational speaking. Advertisement

Gallner has charisma as Benson. He's charming enough that one can understand why an impressionable person might follow him, let alone someone in a vulnerable position having just witnessed a massacre.

Benson has a lot of beliefs about consumerism and society's followers. In an even more extreme example than Fight Club 's Tyler Durden, it's clear Benson warped his beliefs far beyond the kernels of truth he may have perceived.

Benson is trying to solve toxic masculinity with more toxic masculinity. Chris is the kind of problem many people experience, but murdering Chris is an even more extreme problem.

Berchtold also conveys Randy's unsustainable peacekeeping nature. Randy just wants to avoid trouble, but enabling toxic people will only exacerbate the hassle.

Along the drive, Benson also pressures Randy to stand up to his mother on the phone, and reconcile with his ex-girlfriend (Lupe Leon) and a former teacher (Liza Weil). Those might be productive developments for Randy, but being forced to project personal growth to humor his captor creates another tricky dynamic.

The majority of The Passenger derives its tension from ideas. Just about everything Benson says is a threat, and there's still threatening subtext when Benson doesn't make his intentions explicit. Advertisement

A good half the film is just the two characters in the car. When they do stop, they visit equally sparse locations.

The practical reason is that a small production can't afford to populate its malls and restaurants with a slew of extras. However, it works for the film as the desolate appearance of modern society fuels Randy's loneliness.

The bursts of violence are graphic. The shooting doesn't hold back, and The Passenger lives in the sloppy gore of dead bodies while Benson and Randy clean up the crime scene.

The Passenger makes most of minimal trappings. The psychological thriller explores the depths of passive and violent extremes, with shocking bursts of visceral violence.

The Passenger will come to MGM+ later this year.

Fred Topel, who attended film school at Ithaca College, is a UPI entertainment writer based in Los Angeles. He has been a professional film critic since 1999, a Rotten Tomatoes critic since 2001, and a member of the Television Critics Association since 2012 and the Critics Choice Association since 2023. Read more of his work in Entertainment. Advertisement

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The Passenger (2023)

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Ride or die.

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.

Carter Smith

Jack Stanley

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Kyle Gallner

Johnny Berchtold

Randolph Bradley

Billy Slaughter

Matthew Laureano

Jordan Sherley

Kanesha Washington

Merah Benoit

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A review by HorrorFlicks

Written by horrorflicks on december 20, 2023.

TheBlueFuton YouTube channel did a review on this and put it on my radar.

Worth a watch, solid performances and it engaged me like a good movie should. I kept getting vibes of Falling Down, Fight Club (teeny bits) and We Need To Talk About Kevin.

Avoids the cliche of making the lead an anti hero. Gut punch type of movie that stands or falls based on the performance of the leads who were great.

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The Passenger

A young man tries to deliver a mysterious package to the city on a bus but another passenger thinks he is a killer carrying a mutilated body or bomb and is determined to stop him. A young man tries to deliver a mysterious package to the city on a bus but another passenger thinks he is a killer carrying a mutilated body or bomb and is determined to stop him. A young man tries to deliver a mysterious package to the city on a bus but another passenger thinks he is a killer carrying a mutilated body or bomb and is determined to stop him.

• Hadijah Nakanjako
• Usama Mukwaya
• Meddy Sserwadda
• Henry Nathan Katongole
• Allen Musumba
• Olot Bonny Elem
• 5 wins & 10 nominations
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The Passenger – A Bumpy Ride Led By A Brilliant Performance

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The Passenger , produced by Blumhouse, was released quietly at the start of August on MGM+ and various VOD platforms for rental or purchase. The film got good reviews, namely for Kyle Gallner’s career best performance, but has since made little noise and hasn’t received nearly as much attention as it should have. The film follows socially awkward and wimpy Randolph (Berchtold) who is forced to face his fears and confront his troubled past while finding a way to survive after his co-worker, Benson (Gallner), snaps and goes on a violent killing spree. Reading that premise, it is easy to develop some expectations given the Blumhouse logo in front of it. However, after a literal explosive opening act, the film goes in several unexpected directions and becomes something much different and more thoughtful than what one would initially expect for better or worse.

Hands down, the best thing about The Passenger is Gallner’s career-best performance. Though he has always been an underrated talent, this is something completely different for him and he absolutely crushes it as Benson. A real test of his range, Gallner was more than up to the challenge, going from genuinely scary, intense, and chilling to a role model of sorts to Randolph on a dime while finding the perfect balance between those wildly different tones. On a little bit of a resurgence as of late, this role is sure to take that resurgence that much further. Meanwhile, Berchtold is solid as Randolph. While he’s overshadowed a bit by Gallner, he still carves out a lane for himself as he develops such a connection with audiences that they care about Randolph’s journey and wondering where it’ll end. Berchtold and Gallner have such strong chemistry that simple dialog-driven scenes are among the best in the film. The way it builds tension and its third act makes up for the slower pace of its middle act even if not everything about it works.

What ultimately holds it   back from truly taking off is unfortunately the handling of the story and some of the writing. The film opens on a strong and intense note that sets up a dark, violent, and moody horror thriller. While the film maintains much of that darker tone as it went on, it suddenly takes a hard left turn and becomes something closer to a drama which certainly makes for a little jarring transition at first. The middle act does meander quite a bit and feels like it almost loses focus on what was set up to begin with. But, once audiences come to terms with the fact that this is telling a different story, it starts to work more and makes one look back at the entire experience in a much more positive light.

The writing in the third act is where the film really suffers. While it is arguably the most entertaining and intense part of the film, there are so many choices that characters make that don’t feel earned or come out of nowhere. It’s tough to really get into any of it in great detail without spoilers, but though the third act is enjoyable in the moment, it wraps up way too nicely and doesn’t end certain arcs in an overly satisfying or believable way.

In the end, The Passenger might not be great or anything audiences need to rush out and watch immediately, but for those who are fans of these types of thrillers or Gallner, this is a must watch for his brilliant performance alone. It’s just a shame the story can never quite reach his level of greatness but despite that, it is still an investing and mostly engaging horror thriller that’s at least worth a watch somewhere down the line.

still courtesy of Blumhouse Productions

If you liked this, please read our other reviews here and don’t forget to follow us on Twitter or Instagram or like us on Facebook .

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Only Murders in the Building Review: Melissa McCarthy, Eva Longoria and Other A-Listers Add Energy to Season 4

Martin Short, Selena Gomez and Steve Martin go Hollywood in Season 4 of the Hulu hit

Tom Gliatto reviews the latest TV and movie releases for PEOPLE Magazine. He also writes many of the magazine's celebrity tributes. 

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Charles, Oliver and Mabel head to Hollywood in the star-studded season 4 premiere of Only Murders in the Building !

In the season's first episode, Hulu’s nimble hit series follows true crime podcasters Charles-Haden Savage, Oliver Putnam and Mabel Mora ( Steve Martin , Martin Short and Selena Gomez ) as they briefly leave their home base — Manhattan’s Arconia — to visit sunny, starry Hollywood. Once there, they sign on with a brassy producer ( Molly Shannon ) to have their story turned into a movie, in which they’ll be played by real-life stars Eugene Levy (as Charles), Zach Galifianakis (as Oliver) and Eva Longoria (as Mabel).

Mabel isn't sure she wants her life adapted for the big screen by two glib, shallow directors known as the Brothers sisters (Catherine Cohen and Siena Werber). The fame-loving Oliver, on the other hand, is thrilled.

“You get one shot at a biopic,” he quips. “Maybe two, if you’re someone special, like Marilyn Monroe or Jeffrey Dahmer .”

There’s nothing wrong with having Murders become a kind of Love Boat docked on the Upper West Side, not when the cast list is this stacked. Melissa McCarthy turns up this season, too, as Charles’ sister out on Long Island, and Meryl Streep reprises her season 3 role as actress Loretta Durkin.

Shannon is wonderful as the producer, who is hilariously pushy and punctuates every gesture with a wildly electric energy. Additionally, McCarthy hasn’t lost her lovely gift for bringing out a role’s absurd humor, then giving it a light dusting of pathos. And Longoria, Galifianakis and Levy add a nice effervescence, just as you'd expect from the talented trio.

But all the business about moviemaking never quite clicks — wouldn't it be more in tune with the show's meta leanings if the podcast were adapted into a series streaming on Hulu? It also feels whimsically precious at times.

“A great movie moment can live in your head forever,” Charles says, using a clip from Once Upon a Time in the West to illustrate his point. This is irrelevant, and it ignores the fact that a bad movie can live in your head forever, too. (See Showgirls .)

(And, please, no more ghosts of recent murder victims weighing in with theories about how they met their demise. Anyone who lives in Manhattan is too busy and preoccupied to listen to spirits, even on matters of life and death.)

The show remains at its best when the core trio gets down to mapping out the mystery, which will remain under wraps here. It can be said, though, that the renters in what’s referred to as the Arconia’s West Tower are a suspicious batch of misfits. Among them are Vince (Richard Kind), a grump with chronic pink eye (although his eyepatch is constantly shifting), and Rudy ( Kumail Nanjiani ), who never takes down his Christmas decorations.

As to the performances of the central stars ( all Emmy-nominated this year ), Short, 74, is delightful and Martin, 79, is somewhat less so — you might describe his delivery as deadpan, but another word would be leaden. By consistently underplaying the show's hijinks, Gomez, 32, is more intriguing than either of them.

The show still doesn’t make enough use of Da’Vine Joy Randolph ’s Detective Williams, who has a thing for Galifianakis. With a slow, savoring smile, she refers to him as “that scrumptious, f---able baklava.”

Never miss a story — sign up for PEOPLE's free daily newsletter to stay up-to-date on the best of what PEOPLE has to offer​​, from celebrity news to compelling human interest stories.

Only Murders in the Building season 4 is now streaming on Hulu.

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At 68, she wanted to have a bat mitzvah. Then her son made a film about it.

They say a boy’s best friend is his mother . For director Nathan Silver, she’s also his muse.

Over the last decade, teacher Cindy Silver has appeared in several of her son’s films, as well as his 2019 docuseries, “Cutting My Mother.” Their latest collaboration, “Between the Temples” (in theaters now), is a wry and tender riff on “Harold and Maude” that follows a widowed cantor named Ben ( Jason Schwartzman ) and his much older pupil, Carla ( Carol Kane ), as she studies for a late-in-life bat mitzvah.

The comedy is loosely inspired by Cindy’s experience as a culturally Jewish woman, who at 68, enrolled at her local temple in Kingston, New York, in a b’nai mitzvah class (a gender-neutral term for multiple people going through the ritual). She doesn’t star in the movie, although she makes a cameo.

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“This role needed a real actress, not just his mother,” jokes Cindy, 74, on a late-morning Zoom call with Nathan, 41, who lives in Brooklyn. She is “thrilled” and “happy” to help promote the film, but “I’m also just excited to look at my son! We don’t get to see each other too much.”

How Cindy Silver's bat mitzvah journey helped inspire the movie 'Between the Temples'

In Judaism, bar and bat mitzvahs are widely considered a teenage rite of passage, signaling a grown-up step forward into the religious community. As such, “Between the Temples” offers a rare onscreen depiction of the ritual for adults, joining a unique pop-culture pantheon that includes episodes of “ The Simpsons ,” “ Touched by an Angel ” and “ The Dick Van Dyke Show .”

“That’s Mount Rushmore!” Nathan says with a laugh. “I’m honored.”

There are a variety of reasons why someone may not have a mitzvah when they’re young: the financial pressures of a blow-out party ; the relative rarity of bat mitzvahs until the 1970s ; or the months-long preparation required, which can prove challenging for children with different learning abilities. Some kids feel that a bar or bat mitzvah doesn’t align with their gender expression, while others may not convert to Judaism until they’re well into adulthood. Older members of the community might have been prevented from having a ceremony during times of Jewish oppression, such as the Holocaust.

Cindy grew up in Queens, New York, in a secular Jewish home. “My mother would make veal parmesan, and my friends who had kosher households would come to eat at our house,” she recalls. Instead of going to temple, “we’d go to Pete Seeger concerts. But my dad was always saying Yiddishisms, which drove my mother crazy, and she could not stand that I had a sing-song Jewish inflection, which I got from my father.”

Although her parents weren’t religious, they taught her the values of Judaism from an early age: “My dad was always banging the table, screaming, ‘If you have your health, you have everything! Just do good in the world!’ That’s a very Jewish ideal: tikkun olam , ‘repairing the world.’ ”

Like his mom, Nathan wasn’t raised religious and didn’t have a bar mitzvah. Growing up, “my whole Jewish DNA was the humor,” says the filmmaker, who had an early appetite for “Seinfeld” and Mel Brooks comedies. But he’s always been fascinated by how people connect spiritually and to each other.

“What interests me about Judaism is it's a religion of questions. Every question is met with another question,” Nathan says. Rather than worry about the afterlife, Judaism implores people to focus on the now and “embrace what’s in front of you. And I think that’s essential for the characters in this movie: They need other people in order to find themselves.”

In the film, an unlikely love story blossoms between Carla and Ben as they prepare for her bat mitzvah. That aspect of the movie is not true to life. (Cindy's husband of 55 years, Harvey, is just off camera as she chats.) But she could relate to the community that Carla finds in going to temple.

Six years ago, after a friend’s partner died, “we all decided to rally around her and have a b’nai mitzvah together,” Cindy says. Initially, she was “entranced” by her dive into the Jewish faith: “I was going to the rabbi’s studio for meditation and Torah study, and it was brilliant. It’s all discussion and coming up with what everything means, and I love that about Judaism. I felt very accepted because my rabbi would take anyone in. I was like, ‘I want to learn more.’ “

The movie resonates with adults who chose late-in-life bar mitzvahs and bat mitzvahs

But eventually, Cindy and her friends dropped out of the class, discouraged by some of the required reading and memorization. Carla faces similar ups and downs in "Between the Temples," which is part of why the movie has resonated with viewers since its Sundance Film Festival debut in January. Nathan says he’s met many older filmgoers on their own religious paths, some of whom have recently had bar or bat mitzvahs: “It’s neat to have them say that it really reflected their experience.”

One of those audience members was Rivanna Hyman, 74, a Long Island resident. She technically became a bat mitzvah around age 12 while visiting family in Israel, more on a whim and without the same prep and prayer responsibility. But for decades, “I felt I had not earned the bat mitzvah title that was bestowed upon me,” Hyman says. So at age 48, after two years of study, she and 10 other women had a b’not mitzvah (the plural for women and girls).

“I could understand Carla's desire to achieve this milestone in her life,” Hyman says. “For all audiences, I hope they will come away with a greater understanding of the need for someone to accomplish a specific goal."

As for Nathan's mom, she's not interested in resuming her studies for a bat mitzvah. Rather, "I would like to keep reading and exploring on my own,” Cindy says. “I’ll continue my journey as a Jew, but not in a temple because I’ve moved on. And my husband was dragged to services after 50 years – he does not want to go to them!"

Salaar: Part 1 – Ceasefire

Among this past year’s unexpected synchronicities, there’s now a shared space in the Venn Diagram that compares the American singer/songwriter Taylor Swift with the Indian writer/director Prashanth Neel . In 2023, both artists re-released their own re-recorded work, though Neel seems reluctant to describe his latest movie as a remake. Still, the pumped-up action fantasy “Salaar: Part 1—Ceasefire” shares a fair amount of its plot with “Ugramm,” Neel’s 2014 directorial debut. Both movies ultimately concern a civil war within an isolated fictional kingdom ruled by testosterone-fueled muscle guys and their female relatives. And now with “Salaar,” Neel’s fans will join Swifities in getting exactly what they want, a triumphal summary of their favorite artist’s style to date.

Neel has recently admitted that, with “Salaar,” he recast the manga-serial-dense story of “Ugramm” so that it more closely resembles his two-part action epic “KGF,” whose second half was the most expensive Kannada-language movie production to date. (now only tied for second place) Which is to say that “Salaar” also looks brownish-gold and seems to have been filmed on a studio set designed to look like a “ Mad Max: Fury Road ”-themed desert music festival.

It’s unusual, but not surprising to see Neel’s influence predominate in “Salaar.” The Pan-Indian blockbuster success of “KGF” was big enough to confirm a recent trend: popular directors are now being sold to their mass audience public as visionary auteurs, thanks in no small part to the strong appeal of “ RRR ” director S.S. Rajamouli’s brand of maximalist counter-mythmaking.

Before Rajamouli, Indian directors were rarely presented as being more important to a movie’s success than their marquee-topping actors. “Salaar” also stars Prabhas, who played Baahubali, the brawny warrior king, in “Baahubali,” Rajamouli’s trend-setting two-part historic romance. In interviews, Neel has said that some of the biggest differences between the stories of “Ugramm” and “Salaar” were inspired by Prabhas and his co-star Prithviraj Sukumaran . There’s still no way to look at “Salaar” without seeing this as Neel’s show, featuring some notable collaborators.

Even “Salaar”’s elaborate plot already feels like a Neel specialty, particularly its labyrinthine structure and heavy emphasis on flashbacks and tangential sub-plots. The first part of “Salaar” introduces viewers to Deva (Prabhas), a dreamboat with a past and a controlling mother ( Easwari Rao ). Deva loves children and also bonds with Aadhya ( Shruti Haasan ), an adult woman who also loves her mother (now dead) and is also hiding from a mysterious criminal organization. Aadhya and her pursuers lead Deva back to the powerful, hyper-industrialized Khansaar, an independent nation that looks like a steam-punkified coal mine and industrial slum straight out of “ Sonic the Hedgehog 2 .”  Deva’s return to Khansaar also reunites him with Vardha (Sukumaran), prince of Khansaar.

Deva and Vardha’s friendship threads the needle for Neel’s crazy quilt story, uniting flashbacks to climactic boyhood traumas—they were so close and only ten years old, it was 1985!—with perpetually escalating “Game of Thrones”-type feuds between warring Khansaarian leaders. Will Deva bring peace to Khansaar and re-unite with Vardha? No, of course not. This is a story about how two childhood besties grew up to be the kind of rivals whose hatred is so intense that it makes their story too “frightening to think about,” according to some appropriately over-ripe voiceover narration. That line’s especially funny given that it’s delivered right before the surtitle card (“PART 1: CEASEFIRE”) announces an intermission break.

“Would you like to know his story?” the narrator says about half-way through the movie. “His” obviously means Deva, but it could it just as easily mean Neel, who plays up every on-screen movement as if it were a major dramatic event. Neel tends to over-score action with slow-motion a reverb-heavy score and matching sound effects. He also favors Zack Snyder-y speed-ramping in his fight scenes, which alternately winds up and slows down set pieces so that they’re more about poses than choreography.

There’s no question that Neel’s the key to “Salaar”’s success, so it’s hard to get too upset for his reminding us with every italicized, bolded, and underlined flourish. This movie, like his last two movies, feels like a calculated attempt at synthesizing a few different trends into the next mega-trend, including the Pan-Indian appeal of co-stars Prabhas (Telugu language) and Sukumaran (Malayalam). Neel retraces his steps with bolder, harder stresses, like when a group of women chant and shake their ankle bracelets in unison to thank Deva for delivering them from a tyrannical Lord and his rapist son.

Neel’s become a more polished filmmaker since “Ugramm,” and has used what he’s learned to dig his heels deeper into a style that he’s clearly been thinking about for a while now. It shows, even if “Salaar” is just another adolescent fantasy about a righteous savior and a world-ending civil war, coming soon enough in “Salaar: Part 2.”

In theaters now.

Simon Abrams

Simon Abrams is a native New Yorker and freelance film critic whose work has been featured in  The New York Times ,  Vanity Fair ,  The Village Voice,  and elsewhere.

• Prabhas as Deva
• Prithviraj Sukumaran as Vardharaja Mannaar
• Shruti Haasan as Aadya
• Jagapati Babu as Raja Mannaar
• Easwari Rao as Deva's Mother

Cinematography

• Bhuvan Gowda
• Prashanth Neel
• Ujwal Kulkarni

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'Out Come the Wolves' Review: A Survival Thriller That Takes a Gnarly Bite out of Toxic Masculinity

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The Big Picture

• Out Come the Wolves is an intense survival thriller that takes a predictable love triangle to brutal, bloody heights.
• Effective body horror provides a visceral viewing experience.
• The film delivers on its gory premise with practical effects, sound design, and powerful performances.

There’s nothing quite as effective as a well-executed high-concept film. A giant shark terrorizes beachgoers , GMO dinosaurs wreak havoc at a theme park, or, in the case of Out Come the Wolves , a pack of vicious canines try to devour your nasty jealous boyfriends. A tense, at times nauseating survival thriller from director Adam MacDonald , this indie is one part love triangle, two parts female rage, and three parts skin-crawling body horror, sure to leave you putting down the popcorn, watching through your fingers, and likely rethinking your next cabin retreat.

Out Come the Wolves (2024)

What is 'out come the wolves' about.

Out Come the Wolves takes you deep into the woods for a wholly uncomfortable weekend getaway with Sophie ( Missy Peregrym ), her fiancé, Nolan ( Damon Runyan ), and her lifelong best friend, Kyle ( Joris Jarsky ). Nolan wants to learn how to hunt, Sophie wants Kyle to teach him, and Kyle, obviously, wants Sophie all to himself. As Nolan uncovers more about Sophie and Kyle's tangled past, jealousy and egos run high as the two men embark on a hunting trip, which is soon interrupted by a pack of ravenous wolves . When Sophie learns that her two favorite men are in mortal peril, she dons her bow and arrow and embarks on a perilous rescue attempt, leaving us wondering who, if anyone, will make it out of the forest alive.

Missy Peregrym, Joris Jarsky, and Damon Runyan Fight for Their Lives in 'Out Come the Wolves'

In terms of performances, Out Come the Wolves acts as an intimate character drama as much as it does a bloody wolf buffet. On the part of the two male characters, the emotional demands oscillate between seething jealousy and abject terror. Luckily, Damon Runyan and Joris Jarsky knock it out of the park . Minutes after you’re rolling your eyes at their possessive pissing matches, you’re cringing in sympathy as they’re subjected to the terrors of the untamed wild. As these men fight for their lives against a horde of hungry wolves, there's never a moment that feels over-acted, adding to the film's disturbing realism.

In her role as Sophie, Missy Peregrym’s performance is a bit more complex. She's at times playful, doting, disappointed, enraged, and devastated, and Peregrym does it all with ease . As she grapples with horrific circumstances, tending to wounds both physical and emotional on her quest to save those she loves, Sophie emulates all the qualities of a badass final girl , never letting her fear or pain stop her from doing what needs to be done.

'Out Come the Wolves' Delivers on Its Gory Premise

Blessed with gorgeous scenery, great actors, and a straightforward story, Out Come the Wolves is at its best when it embraces simplicity. While there are some impressive, sweeping shots of the forest, and one jarring shot randomly tinted red, the movie really works when it forgoes gimmicks, providing its most powerful moments with simple jumpcut-jump scares and drawn-out shots of our leads in peril . Screenwriter Enuka Okuma (who collaborated on the story with MacDonald and Jarsky) further aids in this believability, with the characters' dialogue and choices feeling refreshingly realistic.

While seasoned fans of the survival genre might be slightly less impressed by the crunching bones and tearing flesh, curious horror novices will undoubtedly be affected by the sickening (and excellent) combination of practical effects, sound design, and eerily convincing performances . If you come for the wolves, you will certainly not leave disappointed.

'Out Come the Wolves' Cinematography Objectifies Missy Peregrym Just as the Characters Do

While the " hungry beast tries to eat people " plot is a surefire hit, the main conflict of Out Come the Wolves , aside from the battle with the titular beasts, stems from the raging jealousy of its male leads — a thinly veiled, but ultimately successful metaphor. Early in the film, fueled by cognac and testosterone, Nolan talks about his fiancée like the piece of meat that he himself is sure to become within the next 45 minutes. As he and Kyle compete for Sophie's affection, they strip her down to parts and dismiss her desires, as Nolan confesses to Kyle that he couldn't possibly be just friends with a "f**king hot girl", and Kyle is positive that he knows Sophie better than she knows herself.

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What would Tom Hanks do?

The camera likewise objectifies her, and throughout the movie, we're shown Sophie as the men in her life see her . We zero in on her eyes and lips as she aims a bow and arrow, see her slowly dance as she tries to entice Nolan to join her, and, at one point, watch as the camera slowly rakes up her body as she lies in bed, taking its time dissecting our heroine. By the time the third act rolls around, and Sophie is bloodied, bruised, and at her wit's end with the wolves that keep trying to eat her, the screams that tear through her resonate on multiple levels.

Ultimately, through its powerhouse performances, effective bare-bones plots, and strong horror elements, Adam MacDonald's latest survival story gets the job done, and does it well . Out Come the Wolves offers a fraught thriller that will satisfy fans of the genre, as well as a complicated character study about what we're willing to do (and stab) for the ones we love.

'Out Come the Wolves' uses its simple premise to great effect, providing a tense, skin-crawling survival thriller.

• Missy Peregrym, Joris Jarsky, and Damon Runyan provide stellar performances.
• The body horror is effective and feels eerily realistic.
• Clever cinematography exemplifies the male gaze before giving agency back to our heroine.
• Some shots feel out of place.

Out Come the Wolves is in theaters in the U.S. starting August 30. Click below for showtimes near you.

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• Adam MacDonald