Passengers is a 2016 American science-fiction romance film directed by Morten Tyldum, written by Jon Spaihts and starring Jennifer Lawrence and Chris Pratt. The supporting cast features Michael Sheen, Laurence Fishburne, and Andy Garca. The film follows two passengers on an interstellar spacecraft carrying thousands of people to a colony 120 light years from Earth, when the two are awakened 90 years early from their induced hibernation.
The script was written in 2007 by Spaihts, but languished in development hell with multiple actors attached and detached from it over the years until Sony Pictures Entertainment acquired its rights in late 2014. Lawrence, Pratt and Tyldum quickly joined the project, and filming took place from September 2015 to February 2016 in Atlanta. It was produced by Village Roadshow Pictures, Start Motion Pictures, Original Film, LStar Capital, Wanda Pictures and Company Films, and was the last film from Columbia Pictures with the involvement of Village Roadshow Pictures.
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Sometime later, another pod failure awakens Gus Mancuso, a deck chief officer. Using Gus' personnel code, the group accesses the ship's bridge (which Jim unsuccessfully tried to breach). They discover multiple cascading failures throughout the ship's systems, but the computer does not reveal the cause. If left unrepaired, the ship will inevitably fail, causing the passengers and crew to perish. Gus realizes that Jim awakened Aurora; Gus does not condone Jim's actions but understands, and tells Aurora that a "drowning man" (meaning the suicidal Jim) will grab onto any lifeline. When Gus falls critically ill, the ship's automated medical suite, the Autodoc, diagnoses pansystemic necrosis and gives him hours to live. Gus attributes it to his hibernation pod's multiple failures. Before dying, Gus gives Jim and Aurora his ID badge and employee code to access crew-only areas, so he and Aurora can try to repair the ship.
In Jon Spaihts's original 2007 script, Aurora's surname was Dunn.[9] At one point in the film's development, it was set to star Keanu Reeves and Emily Blunt.[10] Other actors temporarily attached to it included Reese Witherspoon and Rachel McAdams.[11] Brian Kirk was originally set to make his feature directorial debut with Reeves in the lead.[12][13] On December 5, 2014, it was announced that Sony Pictures Entertainment had won the rights to the film,[14] and in early 2015, Morten Tyldum was chosen to direct.[15] He had always wanted to do a big-scale sci-fi movie, but also stressed the importance of character development over effects.[16]
Principal photography began on September 15, 2015 at Pinewood Atlanta Studios in Atlanta,[22][23] with most of it involving the two leads only. Rodrigo Prieto was cinematographer, and Maryann Brandon was film editor.[24][25] Filming wrapped on February 12, 2016.[26]
Thomas Newman composed the score for Passengers.[27] Spaihts said that he wrote Passengers while listening to Newman's previous scores.[28] Imagine Dragons also recorded the song "Levitate" for the soundtrack, which was released on November 29, 2016.[29] The Chinese theme song for the film is "Light Years Away", composed by G.E.M.; it became the first Chinese music video to surpass 200 million views in September 2019.[30]
At the 2016 CinemaCon, Passengers was featured by Sony Pictures chairman Thomas Rothman with Lawrence and Pratt in attendance. A teaser trailer of unfinished footage was shown afterwards.[31] The first official images of the film were released on August 12, 2016.[32]
Passengers was released on DVD, Blu-ray, and 4K Ultra HD Blu-ray on March 14, 2017, and made available on digital HD from Amazon Video and iTunes on March 7, 2017.[34]On March 14, 2017, Passengers: Awakening, a virtual-reality experience based on the film launched for Oculus Rift and HTC Vive.[35]
Rebecca Hawkes of The Telegraph described the film as not a romance, but "a creepy ode to manipulation", describing the action as a "central act of violence" that is softened and justified.[48] Andrew Pulver of The Guardian called it an "interstellar version of social-media stalking" with "a fantastically creepy start" that, contrary to romantic comedies that managed to "plane down" the nastiness of stalking tactics, presented them in a way where they were "gruesomely inescapable".[49] Alissa Wilkinson of Vox called it "a fantasy of Stockholm syndrome, in which the captured eventually identifies with and even loves the captor" and "a really disturbing wish fulfillment fantasy".[50]
Lawrence was initially proud of the film, but agreed with suggestions that it might have benefited from a different edit, starting with her character waking up.[6][51] Later Lawrence said that Adele had advised her against doing the film and she should have listened.[52][53] Producer Neal Moritz said he loved the film and thought the script was one of the best he had ever read. He pointed out that it was well received at test screenings, but that shortly before its release the media picked up on one review and "it became a mantra". He "thought it was a really unfair thing because I think it's a beautiful film I couldn't be more proud of."[6]
Glenn Kenny was the chief film critic of Premiere magazine for almost half of its existence. He has written for a host of other publications and resides in Brooklyn. Read his answers to our Movie Love Questionnaire here.
When the ADR guys put my dialogue into the film, they saw I had to record a handful of the lines 0.3 seconds quicker to match with the guide track and the way the visuals worked. So there was a quick pickup session where I gave them different speeds of the lines, accelerating my delivery 0.1 of a second each time to ensure they had plenty of choice.
The film just made me think about how messed up the overall story of the film is based around one mans selfish, evil act, forcing one beautiful women who Chris Pratts character would have never had a chance with. It was enjoyable'ish, bit the whole basis of the film is two evil acts. Forcing her awake, and lying to her for a year and taking sexual advantage of her, because with truth from the start it may have been somewhat more different.
There is something about this film that having re-watched it I just feel the need to want to talk about it. I remember it being controversial at the time but after re-watching it on Netflix I had to go back and read reviews to understand why. (Warning heavy plot spoilers)
I like Passengers, there I said it, cards on the table. That said I don't feel it is a great sci-fi movie, nor a great drama and it lacks any of the mystery to be a good thriller. People who have complaints with it on those grounds, who felt the trailer was misleading, I hear you. I like the film, but its flawed and by no means a classic.
The idea that, if Passengers was reshot so we have no context and to the audience Jim was just a creepy monster, any one of us could be that monster. It is unsettling, but ultimately to me it is what makes an otherwise average film memorable as it forced me to that realisation.
The acting is on the whole really well done. Anne Hathaway is quite underplayed as Claire spending most of the film looking mildly annoyed or pensively confused. Eric played by Patrick Wilson is excellently portraited as a maniac high on the edge of collapse as he worries not all is as it seems. My personal shoutout is for Clea DuVall as Shannon. She is a resentful broken mess and she plays it so well.
The new science fiction film "Passengers" takes viewers on a journey to the future, when glitzy interstellar starships can transport thousands of hibernating passengers to planets in neighboring star systems. While aspects of its story line may seem like pies in the sky to skeptics, creators of the futuristic space thriller certainly outdid its predecessors "Gravity" and "Interstellar" in the physics department.
It seems as though the makers of "Passengers" took note of some of the most commonly criticized scientific fallacies in "Gravity" and learned from those past mistakes to make their own film more accurate. You don't have to be a science-minded movie critic to rue the famous "Gravity" scene in which the character played by George Clooney (unnecessarily) falls to his death while breaking the laws physics in low-Earth orbit.
These are but a few of the big scientific qualms that "Passengers" got right after Hollywood got it wrong in previous films. Critics will probably find other scientific points to nitpick in the film, but at the very least, it seems the makers of "Passengers" learned from the mistakes of other big Hollywood filmmakers.
Space travel often conjures images of high-tech control panels, air-lock doors, and modular furnishings. But for Passengers, the upcoming drama starring Jennifer Lawrence and Chris Pratt, production designer Guy Hendrix Dyas traded typical aerospace style for a luxurious, futuristic look. In the film, a spacecraft traveling to a new planet malfunctions during its 120-year journey, awakening two passengers, Jim (Pratt) and Aurora (Lawrence), 90 years too soon. The epic story demanded set designs of an equally grand scale, a feat Dyas was able to achieve in just ten weeks.
And the inclusion of two highly paid, pop culture-friendly would-be movie stars created an impression that Passengers, once conceived as a $40 million-ish sci-fi vehicle for the likes of Keanu Reeves and Rachel McAdams or Emily Blunt, would be a big-budget movie that required big-budget production values. Thus the mid-budgeted star vehicle became a $110m production, with $32m of that going to its two stars (who, to be fair, are between the two of them onscreen for nearly every second of the film). It also thus became a movie that somewhat needed an action-y ending for action-y trailers that (by default) negated the moral dilemma at the heart of the narrative. The big stars/bigger paychecks created unrealistic expectations for the film and for its financial performance in a brand-driven world. be457b7860
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