motorboat 2023 movie

This Underrated 2023 Thriller Has a Bloody Opening That Puts Tarantino To Shame

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Carter Smith ’s 2023 film, The Passenger , manages to create a pressure cooker of tension that explodes within the first 20 minutes of the film. The Passenger follows the anxious Randy ( Johnny Berchtold ) after his coworker, Benson ( Kyle Gallner ), kidnaps him. Fleeing the law, Benson attempts to therapize Randy, dragging him around town and forcing him to relive and confront painful memories. The Passenger is a character study of Randy wrapped in the disguise of a thriller. Despite this, the opening 20 minutes of the film, prior to Benson kidnapping Randy, are a blend of psychological horror and bloody violence. The rapid changes in genre seamlessly match the progression of events. This mounting friction builds to the explosive bloodshed which kicks off the horror-thriller portion of The Passenger , taking up the bulk of the run time. Fans of gore will find themselves glued to The Passenger ’s opening sequence.

‘The Passenger’ Builds Up Tension For Its Explosive Violent Horror

Before The Passenger introduces any bombastic gore, the film prepares its audience by setting their teeth on edge with tension . For the first 15 minutes, the movie tracks Randy as he suffers indignity after indignity when going about his morning. Berchtold plays Randy as submissive, rarely making eye contact and often looking on the verge of tears. By the time the film introduces any blood and guts, the audience feels primed for an emotional explosion. Along with the textual conflict of Randy’s daily agonies, the music and lighting of these first few minutes build out the suspense. The score is quiet and eerie , with any background noise sounding like a horn; every door slam or bell chime is abrasive. When Benson stalks outside after witnessing another round of Randy getting tormented by coworkers Chris ( Matthew Laureano ) and Jess ( Jordan Sherley ), the insects buzzing and swarming are almost too loud. The sound design is doing everything it can to stir anxiety in the viewer .

Kyle Gallner Uses a Shot Gun and Gore to Burst the Suspense in ‘The Passenger’

After an unrelenting build-up of tension, The Passenger pulls a bait and switch in which a character bursts the pressure. Considering the camera has, up until this point, exclusively followed Randy, one might expect Randy to be the vehicle through which the first tonal shift occurs. However, once Kyle Gallner’s Benson walks out of the fast food joint at the 14-minute marker, he becomes the focus of the film Somewhat typecast as a teenage psycho from stints on Cold Case ’s episode “Rampage,” or Criminal Mind ’s “Heathridge Manor,” it may come as no surprise when Benson walks back into his job wielding a shotgun. Gallner’s performance matches the aesthetics of the sequence perfectly. Despite delivering the goriest imagery of the film, Benson is calm, almost apathetic. The long beat where he contemplates Randy after reloading the gun suggests that more than anything, Benson couldn’t be bothered to kill him. Played against Chris’ shock, Jess’ shrieking, and Randy’s trembling and crying, Benson’s chilliness adds an extra level of unease.

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The aesthetics of Benson’s rampage emphasize the carnage. The shooting occurs inside the restaurant, where everything is an obnoxious shade of yellow or orange. The characters are all dressed in similarly colored bowling shirts as uniforms. The blood splatter is lurid and messy. While the color palate of the restaurant should have hidden the blood, the mix used in The Passenger is so pigmented and has an almost chunky look to it that the blood pops on the screen. The primary sound used during the killings is Sherely’s impressively shrill screaming. Alongside the bloody facial she gets after Chris is shot, she looks and sounds like a classic scream queen. The lingering shot of Randy and Benson dragging Chris’ bleeding body to the back room is pure '70s nostalgia . The thick blood trail down the linoleum and the sunset colors make it look like a clip from an old staple rather than an underappreciated 2023 release.

Benson wielding the shotgun generates terror to accompany the blood and guts of the sequence. He shoots Chris first with the practical effects selling the reality of the film's gun violence. Chris goes flying backward off the table he’s sitting on, and hits the wall so hard that he lands nearly upside down on the bench with his feet sticking up. While the gunshot is loud, Chris’ physical response to the blast conveys the ultraviolence of the moment more than anything. The Passenger is in many ways an expression of the ennui and disenfranchisement experienced in small-town America . The reality of gun ownership and the ever-present threat of mass shootings are commonplace in such an environment. Much of the terror of this scene comes from how familiar it is to American viewers.

How ‘The Passenger’ Uses This Opener to Impact the Rest of The Movie

Arguably, without the first 20 minutes of The Passenger , one could make the case for the film being just a thriller . The major plot points from here on out are devoted to the film’s primary focus; a character study of Randy . While the rest of the film is peppered with moments of occasional gore, it never reaches the heights achieved in the opener. The primary horror element hanging over the duration of The Passenger is not gore, but rather psychological dread . There is a constant threat of Benson potentially doling out harm to Randy. He is entirely in control of Randy’s personhood, having kidnapped him following the shooting, and he takes full advantage of this fact by dragging him all over town. There are moments when Benson hits or tries to hit Randy. In these scenes, Randy and the viewer flinch. Though the promise of force is enough to make anyone jumpy, it is only so successful in The Passenger because of how the beginning sequence effectively haunts the rest of the film.

Gallner’s cold performance during the shooting is purposefully juxtaposed against the increasingly manic spiral Benson falls into as the movie progresses. If Benson is capable of such brutality while calm, what might he do to Randy and anyone else when visibly upset? This question is the source of much of the aforementioned tension. Randy is kept on his toes and in a state of distress worrying over this, with Randy frequently crying, flinching, and shivering. The opening scene and Berchtold’s convincing performance have the audience holding their breath for over an hour, waiting to see what will become of these men.

Lead-in sequences are essential for setting the tone of any film. Carter Smith uses his 20-minute opener to terrorize his main character and audience. An increasingly hostile sense of suspense builds to a gruesome slaughter over the course of just a few minutes. When the movie switches gears into a thriller, it is impossible to forget the horror that kicked off the film, along with the gritty and garish depiction of violence. If The Passenger had not introduced itself with this flourish of bloody horror, it wouldn't have the threat and psychological horror that hangs over the rest of the film.

The Passenger (2023)

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Brad pitt and girlfriend ines de ramon enjoy double date with george and amal clooney in venice.

Brad Pitt and his girlfriend, Ines de Ramon , stepped out for a double date with George Clooney and his wife, Amal Clooney, in Italy on Saturday.

The “Fight Club” star and the model cozied up for a taxi boat ride while heading to dinner in Venice alongside their A-list pals.

Pitt, 60, and de Ramon, 34, sat in the back of the boat as they took in the sights of the city.

At one point, the “Bullet Train” actor wrapped his arm around de Ramon and waved at the paparazzi as she smiled.

Pitt sported a partially buttoned-up shirt for the outing, while de Ramon donned a skintight midi black dress.

George and Amal, meanwhile, stood at the front of the boat with the driver.

The “Up in the Air” star, 63, sported a blue suit while the lawyer, 46, wore a black dress.

The two smiled and held hands before later sitting down under a covered portion of the boat with Pitt and de Ramon.

They appeared to be having an animated conversation as Pitt waved his hands in the air while chatting with his friends.

Once the foursome arrived at George and Amal’s favorite Ristorante Da Ivo, per People , they were helped out of the boat by employees. The gentlemen also offered a hand to their respective partners.

After dinner, George was photographed helping his wife back onto the boat.

The group’s outing comes after Pitt and George attended the Venice Film Festival earlier in the day to promote their forthcoming film, “Wolfs.”

Pitt appeared in good spirits as he waved to photographers while de Ramon beamed beside him.

The couple first sparked romance rumors when they attended a concert together in November 2022.

At the time, they had been reportedly dating for a few months following de Ramon’s divorce from the “Vampire Diaries” star Paul Wesley .

Pitt was previously romantically linked to several models, including Emily Ratajkowski , after his split from ex-wife Angelina Jolie in 2016.

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The “Babylon” star and Jolie have had a complicated history since their 12-year relationship came crashing down following an allegedly abusive plane ride .

Last week, the Venice International Film Festival coordinators worked strategically to prevent the exes from crossing paths at the star-studded event.

“Angelina will be on the first day, on Thursday [Aug. 29], and she will leave right after with [‘Maria’ director] Pablo Larraín to go to Telluride [Film Festival in Colorado],” artistic director Alberto Barbera told Vanity Fair.

“So Brad will arrive only on Saturday, to Venice. There is no way that they can cross each other.”

A source told Page Six that Pitt and Jolie did not request the special accommodations but that organizers “were wise enough to realize.”

The former couple shares six children : Maddox, 23, Pax, 20, Zahara, 19, Shiloh, 18, and twins Knox and Vivienne, 16. Several of the kids are reportedly estranged from their father .

In July, a source told People that Pitt has “virtually no contact”  with his adult children but has limited visitation with his younger kids.

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At Telluride, Experimental, Topical and Sometimes Crazy Movies

A documentary made with Legos and a biopic starring a CGI monkey showed alongside films about abortion restrictions and other subjects in the news.

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By Nicole Sperling

Reporting from Telluride, Colo.

As the 51st edition of the Telluride Film Festival came to a close on Monday, the films seemed to sort themselves into two categories: experimental or topical. The documentary filmmaker Morgan Neville and the musical director Michael Gracey each took big, ambitious swings to tell the stories of Pharrell Williams and the British pop star Robbie Williams (no relation). One used Legos. The other a CGI monkey . Other filmmakers turned the lens on issues in the news like transgender-care laws, abortion restrictions and further matters facing voters in the November election.

And as always, conversations swirled around what will and will not go the distance to the Oscars in March.

The director of Telluride, Julie Huntsinger, told the media at the start of the festival on Friday to prepare themselves for some crazy movies (though she used a more colorful term). It was less a warning than a promise, and it was followed by Neville’s film “Piece by Piece,” which was filmed entirely with Legos, depicting pop and rap superstars like Jay-Z, Missy Elliott and Pharrell Williams.

“What if nothing is new?” Williams says in the glossy depiction of his life, due in theaters Oct. 11. “What if life is like a Lego set and you’re just borrowing from everyone else?”

Later that evening Gracey (“The Greatest Showman”) relied on the magicians at Weta FX to depict Robbie Williams as a monkey, an approach that allowed the audience to “see Robbie as he sees himself,” the director told the crowd. Robbie Williams compared the experience of debuting his story to being “like an 11-year-old who’s having the best day possible.”

The experimentation continued with “Nickel Boys,” in which the director RaMell Ross played with perspective in adapting Colson Whitehead’s Pulitzer Prize-winning novel of the same name.

And that was just opening day. Saturday seemed reserved for political awareness and “Saturday Night Live.”

The Netflix documentary “Will & Harper” had both. The film tracks a road trip undertaken by Will Ferrell and Harper Steele, a former “S.N.L.” head writer and Ferrell’s friend of 30 years. Steele, a trans woman, wants to see if she can traverse the country as she once loved to do.

The film, which played at Sundance in January, drew a wide swath of the Telluride audience, including Martha Stewart (in town for her documentary, “Martha”) and Bill Murray (“The Friend”). It also earned a standing ovation for Steele, which she was quick to point out to Ferrell, when the two took the stage.

The movie, directed by Josh Greenbaum, gives viewers an intimate look at a friendship that’s made deeper by the momentous change to one friend and the other’s authentic response to it. Ferrell comes across as both an audience surrogate trying to better understanding the transition and as an empathetic mensch. Steele noted that Ferrell’s willingness to participate could come at a great cost to him and his professional image. “This is a brand that will get hurt by it,” Steele said at the screening.

Audiences then packed the theater for “Zurawski v Texas,” about women who are suing the state over the loss of abortion rights. Festivalgoers were there in part to see former Secretary of State Hillary Clinton, an executive producer on the documentary, participate in the post-screening panel. “I don’t think we can underestimate how important this film is in order to break through the eye rolling, the denial, the dismissiveness, the cruelty that has affected so many women’s lives,” Clinton said.

Later that afternoon, a crowd of 500 gathered in Elks Park, in the center of Telluride, to hear the film’s subjects and Chelsea Clinton, another executive producer on the film, discuss suing the state of Texas over maternal health care. (The Texas Supreme Court ruled against the 20 plaintiffs in May.)

Saturday night at the festival was one of nerves. Director Jason Reitman paced the theater ahead of his film “Saturday Night.” It takes place in the 90 minutes leading up to the first episode of “Saturday Night Live,” which begins its 50th-anniversary season this fall.

“This is a level of adrenaline reserved for test pilots and heroin addicts,” Reitman said in his opening remarks, which featured a guest appearance from Murray, a former “S.N.L.” cast member and a longtime collaborator with Reitman’s father, Ivan.

The director Ali Abbasi was also nervous about the first U.S. showing of his controversial movie “The Apprentice,” which chronicles the rise of former President Donald J. Trump (Sebastian Stan) and his relationship with the lawyer Roy Cohn (Jeremy Strong). Abbasi told a packed 10 p.m. screening just how worried he was about its premiere here. “This was some years in the making and now it’s coming back home to you guys,” he said.

The fate of the film, which debuted in Cannes to strong reviews in May, was uncertain as recently as last week when the producers were still trying to finalize a deal to buy out the financier Kinematics, one of whose backers is the Trump ally Dan Snyder. That deal is now done, and the film will officially open in theaters on Oct. 11 from the distributor Briarcliff Entertainment despite Trump’s threats to sue the filmmakers. “This is not a political hit piece,” Abbasi said of his film. “This is a mirror intended to show you an image of yourselves, you as a community.”

Perhaps as a companion piece to “The Apprentice,” Telluride scheduled Errol Morris’s “Separated,” a documentary chronicling the Trump administration policy of separating immigrant families trying to cross the southern border, at the same time.

It is one of several titles looking for distribution, which is unusual for movies debuting at Telluride. Others include “Zurawski v Texas”; “The Friend,” starring Naomi Watts and a Great Dane; the 1972 Munich Olympics hostage drama “September 5,” starring Peter Sarsgaard; and Petra Costa’s documentary “Apocalypse in the Tropics,” about evangelical Christians’ effect on a Brazilian election. Telluride seems amenable to helping with the sales. “The filmmakers are hoping that people can get excited about the movies and drive the price up,” Huntsinger said.

Studios also brought Oscar hopefuls that premiered at other festivals. Netflix brought the cast of “Emilia Perez,” including Selena Gomez, Zoe Saldaña and Karla Sofía Gascón , here after buying it in Cannes. Neon wanted festivalgoers to take a look at “Anora,” the Cannes Palme d’or-winning film about a Brooklyn sex worker played by Mikey Madison. And Searchlight sent Jesse Eisenberg and Kieran Culkin to Colorado to show “A Real Pain,” which it bought in Sundance.

Nicole Sperling covers Hollywood and the streaming industry. She has been a reporter for more than two decades. More about Nicole Sperling

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Treat Williams Dies In Motorcycle Accident: ‘Everwood,’ ‘Hair’ Star Was 71

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UPDATED with family statement: Treat Williams , the versatile and prolific actor best known for playing Dr. Andy Brown on Greg Berlanti’s Everwood during a nearly half-century career, died this afternoon. Williams was killed in a motorcycle accident in Dorset, VT. He was 71.

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Jacob Gribble, the fire chief for Dorset, told People that the accident happened around 5 p.m. ET and involved Williams’ motorcycle and a single car, the driver of which apparently didn’t see Williams. He was the only person hurt in the crash. A helicopter was called to airlift him to a hospital.

Williams played the kindhearted lead on the WB’s Everwood for four seasons from 2002-06, a role that seemed to fit the actor perfectly. Williams received two SAG Award nominations for his work on the show. The series never was a ratings blockbuster, but it helped launch the careers of Chris Pratt, Emily VanCamp and Gregory Smith.

RELATED: Gregory Smith, Sarah Drew React To ‘Everwood’ Co-Star Treat Williams’ Death: ”A Wonderful Man And A Brilliant Actor”

Williams was well-seasoned by the time the show came around: His first big break came when he auditioned for a road company for Grease .

“I came back and they put me on Broadway as the understudy to four of the male leads, including John Travolta and Jeff Conaway,” Williams told Vermont magazine. “I covered Teen Angel, Doody, Danny Zuko, and Roger. Within two weeks, I was on Broadway performing. It was a baptism by fire, but it was great.”

He ultimately would appear in a half-dozen Broadway shows from 1974-2001, including Follies, Love Letters and the 1981 production of The Pirates of Penzance .

RELATED: Emily VanCamp Pays Tribute To ‘Everwood’ Co-Star Treat Williams

The actor’s many other big-screen credits include Steven Spielberg’s  1941  (1979), Sidney Lumet’s Prince of the City (1981), Sergio Leone’s  Once Upon a Time in America  (1984),  Dead Heat  (1988),  Things to Do in Denver When You’re Dead (1995) and  Deep Rising  (1998).

RELATED: Treat Williams’ Final Role – Playing Bill Paley In Ryan Murphy’s ‘Feud: Capote Vs. The Swans’

Williams posted online often about life in Vermont, sharing photos on social media of his farm and appreciation for country life. His final tweet came less than an hour before his death.

“I’ve always had an enormous love for Vermont, both in winter and summer. There was something incredibly special about it to me, and the people here are incredibly honest, real, and good-humored,” he told an interviewer in 2022. “There’s also always something new to discover somewhere on a dirt road that you’ve never traveled on before. Every day I wake up so grateful to see the view that I see out of my window and to be living up here.”

On TV, Williams’ career stretched back 40 years to a starring role in the 1983 telefilm Dempsey, about the former heavyweight champ to whom the actor bore more than a passing resemblance. He followed up with two more TV movies: A Streetcar Named Desire (1984), in which he played Stanley Kowalski, and J. Edgar Hoover (1987), playing the titular G-man. Dozens more TV movies followed, including the 1996 The Late Shift , which earned him an Emmy nomination for playing former uber agent Michael Ovitz, as well as the sitcom Good Advice with Shelley Long, which ran on CBS for two seasons from 1993-94, leading to Everwood .

More recently Williams appeared in a six-episode arc on Blue Bloods as Lenny Ross, in the Hallmark Channel’s Chesapeake Shores from 2016-22 and in the HBO limited series We Own This City .

He will soon be seen in Ryan Murphy’s FX anthology series Feud: Capote’s Women , in which he plays former CBS head and media tycoon Bill Paley.

Williams is survived by his wife, actress Pam Van Sant, and their two children, Gille and Ellie.

A Statement on the Passing of Treat Williams It is with great sadness that we report that our beloved Treat Williams has passed away tonight in Dorset, Vermont after a fatal motorcycle accident. As you can imagine, we are shocked and greatly bereaved at this time. Treat was full of love for his family, for his life and for his craft, and was truly at the top of his game in all of it. It is all so shocking right now, but please know that Treat was dearly and deeply loved and respected by his family and everyone who knew him. We are beyond devastated and ask that you respect our privacy as we deal with our grief. To all his fans, please know that Treat appreciated all of you and please continue to keep him in your hearts and prayers. The Williams Family

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Motorboat (2023)

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A rural lakeside community is terrorized by a demonic black boat prowling its waters, killing locals and turning the waters blood red. A fallen Priest and a no nonsense Harbor Patrol Captain have to fight a decades long evil, resurrected by a death cult, the Brotherhood of Darkness, led by the unstoppable Messiah Ward. It's faith vs hate in this battle for one town's soul. Bonus features include: SRS Trailers, Trailer, Commentary

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• Package Dimensions ‏ : ‎ 7.56 x 5.31 x 0.71 inches; 2.72 ounces
• Director ‏ : ‎ Mark Polonia
• Media Format ‏ : ‎ NTSC
• Run time ‏ : ‎ 1 hour and 15 minutes
• Release date ‏ : ‎ June 13, 2023
• Actors ‏ : ‎ Various
• Studio ‏ : ‎ Srs Cinema
• ASIN ‏ : ‎ B0BVRT8KB2
• Country of Origin ‏ : ‎ USA
• Number of discs ‏ : ‎ 1
• #6,268 in Horror (Movies & TV)

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A priest and a harbor patrol chief must work together to try and stop the evil behind a possessed boat that begins hunting down and killing the locals of a small lakeside community.

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Mark Polonia

Timothy Hatch

Father Thomas

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Directed by Mark Polonia

Evil Is Afloat

A priest and a harbor patrol chief must work together to try and stop the evil behind a possessed boat that begins hunting down and killing the locals of a small lakeside community.

Tim Hatch Jeff Kirkendall Jamie Morgan Sam Vanivray Shawn Ness Paul Bradford Ken Van Sant Kellen DeRuy

Director Director

Mark Polonia

Executive Producers Exec. Producers

Ron Bonk John D'Agostino

SRS Cinema Polonia Brothers Entertainment

Releases by Date

02 feb 2023, releases by country.

72 mins   More at IMDb TMDb Report this page

Popular reviews

Review by maskull ★★★½ 2

I don't know if it was the obvious toy boat playing the part of the Scary Satanic Killer Boat, or the really out of place "Bassline" EDM song that plays when they're heading out to hunt the Satanic Boat (good song though), or the multiple shots of an underwater camera moving at high speed through the water (I just think it looks neat), or the weird dreamy/nightmare feel of the movie, or maybe it's just Jeff Kirkendall getting to be onscreen a lot and deliver some wonderful deadpan lines that made me laugh, but I really had fun with this movie.

Could've really done without showing the killing of the Cult scene again in full for a second time, though. That took me out of the movie a bit.

Review by Sunday Revello ★★★

Why in cults do they always have some ornate goblet full of blood that they pass around to drink from? That's so boring. I propose a blood bong so you can party with your cloaked brethren.

Review by Rich Trash🗑️ ★★★½

There is a mysterious black boat leaving a trail of blood in its wake and it is up to Jeff Kirkendall to stop it! Kirkendall was clearly the MVP of this movie, he waxes poetic to himself, asking questions for no one to answer, and looks great in uniform. There are many odd choices in this movie but they all seem to work. It was like Mark Polonia got a new underwater camera for Christmas and took it out on a test drive with this movie. The high-speed underwater shots looked great, by the way. A scene might have been repeated but I was still in ride-or-die mode so they didn't bother me. Then there is the soundtrack. Most of the soundtrack is exactly what I have come to expect over the years from a Polonia flick. But then... out of now where comes this loud song that doesn't really flow with the vibes but it works nonetheless.

I have recently read Brian Berry's novelization which led to this rewatch. The book doesn't go deeper on too many things if anything at all. It is a quick read with only 109 pages. Of course, I was going to read the book for a Polonia movie, I mean that is just badass.

Now that I have watched this movie twice and read the book, I can confidently say that I enjoy this a lot more than I probably should. The book opened a whole world that wasn't a dank basement seen in the movie.

In case you wanted to read the book, click this link: a.co/d/5KqMqIK

Review by AMC_Vagrant ★★

Maybe this got hyped up to me too much but I’m missing the magic people seem to have for Polonia here. Yes the concept is ridiculously absurd, the kills are ludicrous and I love the deadpan delivery of the actors but it still needs to be entertaining. Everything here just feels slapped on and not in a fun way. Dare I say lazy?

Its not even 90 minutes but it felt like two hours, dragging its knuckles across the lakebed with a needlessly convoluted story. And while yes the kills are funny they’re also uninspired and all go down basically the same way. A little variety would’ve gone a long way. You look at a movie like Ghost Shark and…

Review by Adam Loves Bad Movies ★★★

I wonder if the novelization gets into the history of Tim Hatch and his brother Messiah Ward, who is a top 5 bony skeleton hands/boatman of all time. We loved this movie on Podlonia  , the worlds only podcast dedicated to Polonia Brothers Entertainment!

Review by Sam of the Night ★★★★★ 1

I'm in this movie as a newscaster at ~58 minutes in. I filmed it in my bedroom.

Review by TurboSnor ★

Rudder crap.

Review by M@ ★★½

Mid road Polonia🤘😎 for 2020s that's a win.

Review by filmcel ★★★½

haters dont get the magic of a movie with a clearly obvious cute little murderous toy boat going around killing people WITH the combination of an edm song saying “my bass line my my my bass line”

Review by Kyle Hytonen ★★★

Looks to be an original IP from Polonia this time around as a mysterious killer motorboat stalks a coastal town. It manages to turn itself into an enjoyable romp with a very tender finale.

Is it just me or is he getting better as a filmmaker as the years go by?

Review by Bethsheba ★★½

They really did use a toy boat for this. I'm weak.

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