Passenger Review Roundup: André Øvredal returns with a supernatural road-horror thriller that has drawn mixed reactions from critics. Released on May 22, Passenger stars Jacob Scipio, Lou Llobell and Melissa Leo in a highway-set horror story built around demonic pursuit, isolation and escalating paranoia. Reviews broadly praise the film’s atmosphere, nighttime visuals and Øvredal’s horror craftsmanship, but many critics argue that the story and mythology feel too familiar to stand out in the current horror landscape.
Directed by André Øvredal, known for films such as The Autopsy of Jane Doe and Scary Stories to Tell in the Dark, Passenger follows a young couple who witness a horrifying accident on a remote highway before realizing they are being stalked by a supernatural entity. The film blends road-trip horror with supernatural folklore elements, using highways, e
mpty landscapes and constant movement as part of its central tension.
The overall critical response suggests that Passenger succeeds more as a mood-driven horror experience than as a deeply original genre reinvention. Supporters see it as an efficiently made supernatural thriller with strong atmosphere and practical horror tension. More negative reviews argue that while Øvredal directs with confidence, the film relies too heavily on familiar horror mechanics, loud jump scares and underdeveloped mythology.
One of the strongest negative reactions comes from The Guardian, which describes the film as generic jump-scare horror that struggles to distinguish itself from older studio horror formulas. The review argues that the film feels outdated compared to more inventive modern horror titles and criticizes its dependence on predictable scare rhythms and thin character writing. The Guardian’s response frames Passenger as technically competent but creatively conventional.
RogerEbert.com offers a more supportive perspective, praising Øvredal’s genre craftsmanship and visual control. The review describes Passenger as trashy B-horror elevated by confident filmmaking, arguing that the director gives familiar material enough momentum and atmosphere to remain entertaining. Jacob Scipio and Lou Llobell’s performances receive praise for grounding the increasingly supernatural material, while the film’s visual design and highway sequences are singled out as strengths.
IndieWire also leans mixed-positive, suggesting that Øvredal’s direction keeps the film engaging even when the script falls into familiar horror territory. The review reportedly praises the film’s sense of dread and visual atmosphere while questioning whether the mythology surrounding the supernatural entity is compelling enough to sustain the runtime. This reflects one of the recurring themes across the reviews: many critics admire how Passenger is made more than what it ultimately says or reveals.
The Hollywood Reporter highlights the film’s tension-building and nighttime visual design, noting that Øvredal remains skilled at staging suspense inside confined spaces and isolated environments. The review suggests that the director’s horror instincts are strong enough to maintain audience engagement even when the screenplay relies on conventional supernatural horror beats. Melissa Leo’s presence is also mentioned as adding weight and texture to the ensemble.
Empire’s review appears more favorable toward the film’s straightforward horror approach, positioning Passenger as a polished and efficiently scary genre ride. Rather than criticizing the film for its familiar structure, Empire reportedly embraces its B-movie energy and focus on sustained tension. This reflects a wider divide between critics seeking originality and those more willing to judge the film on execution alone.
The New York Times review takes a more reserved stance, emphasizing the film’s genre familiarity and limited emotional depth. Like several other mixed reviews, it acknowledges Øvredal’s technical ability but questions whether Passenger offers enough narrative substance beyond its eerie atmosphere and chase-driven premise.
Slashfilm similarly criticizes the script and mythology, arguing that the film depends too heavily on jump scares and loud horror beats. The review suggests that Øvredal tries to inject style and intensity into material that ultimately feels formulaic. Still, Slashfilm acknowledges that horror audiences primarily looking for tension and scares may respond more positively than mainstream critics.
The divide becomes clearer when comparing mainstream critics with genre-focused horror outlets. Several horror-community reviews have been more enthusiastic about the film’s atmosphere, creature design and relentless pursuit structure. These reactions suggest that Passenger may work more effectively for viewers looking for a straightforward supernatural thriller rather than a prestige horror film attempting major thematic reinvention.
The common praise across reviews centers on atmosphere, cinematography and Øvredal’s horror direction. Critics repeatedly highlight the eerie highway setting, the sense of isolation, the nighttime visuals and the film’s ability to create tension through movement and pursuit. Melissa Leo’s supporting role also receives attention, while the film’s opening sequences are often described as particularly effective.
The common criticism is equally consistent. Many reviews point to generic mythology, weak character development and predictable horror beats. Several critics argue that the film’s jump scares become repetitive and that the screenplay never develops its central supernatural idea into something especially memorable or emotionally resonant.
Passenger appears caught between two eras of horror filmmaking. André Øvredal directs with the confidence and craftsmanship of a traditional studio horror filmmaker, but the material itself often feels rooted in older formula-driven supernatural thrillers. In a horror landscape increasingly shaped by more experimental and emotionally layered films, Passenger seems designed less as reinvention and more as a polished late-night scare machine.
The early response suggests that Passenger is unlikely to emerge as one of the year’s defining horror films, but it may still find an audience among viewers looking for a tense, visually atmospheric supernatural thriller. Critics praising the film admire its mood, pacing and efficient horror construction, while detractors argue that its familiar storytelling and generic mythology prevent it from becoming something more distinctive. Either way, André Øvredal’s direction remains one of the film’s most consistently praised elements.
Film: Passenger
Director: André Øvredal
Writers: T.W. Burgess, Zachary Donohue
Cast: Jacob Scipio, Lou Llobell, Melissa Leo
Genre: Supernatural horror / road thriller
Studio: Paramount Pictures
Runtime: 94 minutes
Release Date: May 22, 2026
Premise: After witnessing a horrific highway accident, a young couple realizes they are being pursued by a demonic entity that follows them wherever they go.
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