The Passenger (2023) Revisited – Horror Movie Review

The The Passenger episode of Revisited was Written by Vannah Taylor, Narrated by Lance Vlcek, Edited by Paul Bookstaber, Produced by Tyler Nichols and John Fallon, and Executive Produced by Berge Garabedian.

Do you ever have one of those days that can be perfectly summed up by the lyrics of Limp Bizkit’s Break Stuff? Most of us have, especially anyone who’s dragged themselves to a shift at a dingy fast food joint. That is exactly the kind of day that Benson and Randy are having in the 2023 thriller, The Passenger, because anyone who interacts with this duo will have their life on contract.

Directed by Carter Smith, who horror fans might recognize from films like The Ruins, Jamie Marks is Dead, and Swallowed, The Passenger is a neat little character driven thriller that turns every service worker’s worst nightmare into a grim journey of self-discovery. Randy Bradley, played by Johnny Berchtold, is an introverted fast-food worker, content to quietly drift through life. That is, until his coworker Benson, portrayed by horror king Kyle Gallner, fed up Randy’s passiveness as he is harassed by another coworker, decides to grab a shotgun out of the trunk of his car and turn their little burger joint into the type of news headline that we have unfortunately become much too familiar with in this day and age. What follows is an impromptu killing spree, a road trip of reckoning for Randy as Benson forces him to confront various characters from his past, making Benson into menacing and nihilistic version of a “Ghost of Christmas Past” as he takes Randy from one location to the next, unpacking his psyche along the way.

Gallner and Berchtold’s dynamic on screen is riveting, with their characters perfectly counterbalancing one another. Randy is quiet and reserved, while Benson is explosive and erratic. Yet, both men are equally vulnerable. The tight framing of the camera on their interactions adds a suffocating and claustrophobic tension to their harrowing road trip, despite the vast, desolate landscapes that surround them. These surroundings, however, mirror the character’ emotional turmoil, becoming a blank canvas that the type of psychological development that they undergo can be painted upon. As they travel from one location to the next, we dive deeper into the trauma and suppressed emotions that both Randy and Benson are harboring. The film’s emotional core lies in the complex dynamic between Benson and Randy. Early on, after Benson forces Randy to help clean up their coworkers’ bodies, their conversation teeters towards Randy’s repeating of second grade. Randy explains, “I didn’t fail, I got held back.” This specification reveals and perfectly encapsulates his definite trait: a fear of failure holds him back in all aspects of life. He is too quiet to speak up for himself, eating a day old burger just because a coworker goaded him into it. Too unambitious to think about what he wants to work towards in life outside of going to this previously uneventful job. Too meek to stop his mother from micromanaging his life, evident in the phone call he takes from her early on in their journey. This insecurity is what Benson latches onto, alternating between tormentor and mentor, pushing Randy to challenge the sources of his stagnation.

The way the camera follows Benson towards the beginning of the film positions the viewer along with Randy, unsure of where he is going to lead us and afraid of what he might do next. Despite the violence we know Benson to be capable of, and the hostility that emanates from him, moments of sincerity come through, creating brief moments of camaraderie between the two. The oscillation in temperament that Gallner is able to achieve in his performance causes an ever present feeling of unease. The dynamic is constantly blurred, but there is never a feeling of safety for these characters. Again, despite what we know Benson to be capable of right from the jump, a pivotal moment comes during his violent outburst against Mr. Sheppard. This moment is jarring to both the viewer as well as Randy because it is a completely personal assault on this man that we know nothing about. He becomes unexpectedly unhinged at the sight of him and unleashes his rage. Rather than using the gun already in his hand, Benson wants to inflict as much pain as possible with his bare hands. Randy’s desperate plea, “you said this was for me,” underscores the fact that all of Benson’s actions up to this point were never really about Randy’s healing but about his own pain that he has been unable to cope with. Between the moments when we meet Ma, and the heartbreaking end of the film when he says “I was never in charge,” it is evident that Gallner is not portraying just a typical villain in this story, but a tragic figure. There is a self-awareness to him about how deeply unhappy he is with his own life, but the position he has forced Randy into is a projection of his own unresolved insecurities. Despite the massacre of their coworkers who met their fates at the end of Benson’s shotgun, it is really Randy that triggers his rage. He sees this young man not living up to his potential and perhaps sees a reflection of himself. He then takes it upon himself to not let Randy’s hopes and dreams end up plastered to the walls of a fast food restaurant.

Benson’s journey culminates in the final moments at the diner when he decides that it is too late for him, but it is not too late for Randy. Gallner delivers a chilling performance, proving that he is a genre actor that never disappoints, but it must be said Johnny Berchtold’s performance is equally compelling. His development from passivity to self-empowerment forms the heart of the film, adding a vast emotional depth to The Passenger. Ironically, Benson’s destructive mentorship methodologies succeed: by making him the passenger in his beat up 1974 Chrysler Newport, he pushed him to stop being a passenger in his own life. Randy’s guilt is one that resonates with any of us that may have built up certain moments in our past–memories that grow into dark monsters that haunt our psyches. But that all melts away when he finally comes face to face with Ms. Beard–the victim of the accident that held him back in second grade and planted the seed of shame that changed his life forever. Seeing this beautiful woman, played by Liza Weil, living a happy and full life, allows Randy to shed the burden that weighs over him and find a path towards redemption. This redemption extends itself to Benson. Despite the pain and fear he instilled throughout the film, he is a character that is shown so much compassion. The unexpectedly poignant end of the film shows the two stuffed animals that Randy and Benson made during their journey. Now sat in Ms. Beard’s living room, it is clear that she holds forgiveness and understanding for the hurt that Benson carried with him–a grace that he was unable to show himself and that he never thought himself worthy of. The tense and brooding tone of the rest of the film is tempered by a bittersweet conclusion, leaving the audience with a touching sense of hope.

The Passenger is a quiet film. The pacing of the film is a slow crawl, especially in the film’s quieter moments. Reflective of the character’s introspection, the sound and music add to this subdued atmosphere. Composed by Zachary Dawes, the score is subtle yet haunting–allowing the sound design to take a hold of the viewer with every gunshot, screeching tire, or whispered confession–creating an emotional and immersive experience. Another unsung aspect of this film is Eli Born’s cinematography. There are shots that show a beautiful contrast between light and dark–especially considering that this triller takes place in the middle of the day rather than in the shadows of the night. The characters begin their day with a beautiful purple dawn, illuminating that their journey through life has only just begun. We slowly crawl through a small sun-bleached town towards a dark and contemplative evening.

This film was also quiet in its release. The Passenger debuted directly onto streaming platforms, meaning that its success cannot quite be measured by its impact at the box office. It definitely garnered attention, especially for the two lead performances and the way they explore human nature. The dynamic created between Benson and Randy allows for an exploration of masculinity, the intricacies of male friendships, and the importance of exploring the dark emotions inside you before they become violent and explosive. Some feel that the backstory of these characters, particularly Benson, is underdeveloped. While I do think it would be interesting to learn more about his life–especially aspects like his relationship to his Ma, why he beat Mr. Sheppard within an inch of his life, and whatever else might be hidden in his past leading up to his decision to kill his coworkers–I do find value in keeping those aspects hidden from the viewer. We see small snippets and can make inferences about him, but the missing pieces allow Benson to be a stand-in for anyone struggling through more than what meets the eye.

Much like Randy, this film has seemingly slid under the radar for many potential viewers, but hopefully its accessibility will allow it to continuously be discovered.

This thought provoking and emotionally charged thriller resonates deeply, and its relevance is likely to grow with time. Cleverly playing on the familiar food service mantra, “if you’ve got time to lean, you’ve got time to clean,” Jack Stanley’s script taps into experiences that feel easy to connect with. The struggles faced by the film’s nuanced characters are presented with a real authenticity, making it easy for viewers to empathize with their journeys. This film puts us right in the back seat, ready to take our own journey through our identities and reminds us not to remain idle as life passes us by. The Passenger challenges viewers to confront their own deeply buried traumas and dish out a little forgiveness–both to those around us and to ourselves. More than just a typical thriller, this exploration of resilience and redemption is a story that lingers long after the credits roll. For audiences craving an edge-of-your-seat ride with a lot of heart, take a ride with The Passenger.

Two previous episodes of Revisited can be seen below. To see more of our shows, head over to the JoBlo Horror Originals channel – and subscribe while you’re at it!

The post The Passenger (2023) Revisited – Horror Movie Review appeared first on JoBlo.