Image result for passengers

I couldn’t make up my mind whether or not to watch this because I thought that the trailer pretty much revealed the entire plot in a quick 30-second burst.

Wow, was I wrong.

There seemed to be one major twist in the tale that became pretty obvious within the first ten minutes when we see Jim the Jerk (Chris Pratt) stalking the ship’s empty hallways: where the hell is Jennifer Lawrence and how will she join in him this never-ending misery in what can only be described as a modern-day, luxurious Dante’s Inferno?

When we finally see Jim spot Aurora (Lawrence) in her pod, I was internally screaming so loud that I almost deafened my organs – if that was a thing. It all became way too tragically obvious and it was all downhill from here. Deep down. Into the pits of hell. I guess I’ll never know why I didn’t walk out at this point. Shame.

I’m not even going to waste my time discussing the film’s visual effects blah blah blah. Let’s get straight to the point here: this film promotes rape culture.

Yes that’s a huge sweeping statement and no I dgaf.

Aurora basically spells it out when she shouts: ‘You’re stealing my life!’

But it’s all good because she was ‘too’ beautiful and he was captivated so, yep. All her fault.

I get the premise: there’s a gradual build up where we – the audience – are supposed to feel oh-so-sorry for this cute guy, alone in a metaphorical prison cell. I get it. I feel compassion. I feel empathy and man, I even understand his urgency and desperation to a certain degree. What I don’t get is why Morten Tyldum attempts to turn this film into a love story.

Jim is an entitled man who thinks he deserves a pretty woman to live out his misery together with her. It’s as though Aurora is a commodity to be enjoyed. And that’s rape culture. There are major, undeniable similarities. Jim dominates her in every sense of the word. She belongs to him and she doesn’t even know it. Okay, she may realise it upon the revelation (whereby I think we’re actually supposed to feel ‘sorry’ for Jim), but the film’s conclusion makes this point pretty clear.

This isn’t a timeless love story. This is my idea of a horror movie. At best, this is fucking weird.

And because the film is dead set on restoring the fucking selfish Jim (he delivers cute messages via robot, moulds her a ring yeah yeah yeah, just fuck off, Jim), it’s even bloody weirder.

Tyldum has gone out of his way to make it all okay again but Jim’s act is unforgivable. He crosses the line. In fact he’s so far over the line he may as well be on another planet.

The film’s revelation was the perfect opportunity for Tyldum to turn it on its head and hit us with something we would never have expected. With all Tyldum’s creative genius, it’s hard to believe that he couldn’t come up with a better plot without raising questions of consent.

There’s also not enough lead women as despite Lawrence’s huge reputation, she plays a cooperative prisoner whose whole life revolves around satisfying men (Jim, her dad etc), included only for the male gaze.

If this film was cast as a psychological thriller (with a different ending, obvs), then it would receive my utmost praise. Maybe somone (calling all playwrights!) should steal this idea and transform it into a dark play – THAT I’d see.

To be frank, this is my worst nightmare where yet another woman is consumed by her male counterpart. Fix up, Hollywood.