Stowaway (2022)

Stowaway is the kind of lean, high-seas thriller that works because it keeps you trapped in the same pressure-cooker space as its heroine, turning a luxury yacht into a sleek, floating arena where every hallway feels like a dare. Ruby Rose gives Bella a scrappy, stubborn edge that makes her more than a scream-and-run victim, and the film gets real mileage out of the cat-and-mouse tension as the balance of power starts to shift. With Frank Grillo bringing a hard, grounded menace and the ocean itself serving as a cold reminder that there’s nowhere to go, the vibe is brisk, punchy, and satisfyingly nasty when it needs to be. It’s not for viewers looking for deep character study or subtlety, but if you want a straightforward, adrenaline-forward survival ride with a crowd-pleasing “prey becomes hunter” kick, it’s an easy watch.

Stowaway is clearly aiming for a slick, contained “cat-and-mouse on a yacht” thriller where a seemingly carefree heroine discovers her survival instincts and flips the power dynamic. The problem is the execution: the plot moves in fits and starts, the script leans on familiar beats, and the suspense rarely builds into the kind of punchy momentum this premise promises. Ruby Rose and Frank Grillo bring some grit and presence, and the setting has a glossy, isolated vibe that should work better than it does, but the film often feels like it’s coasting when it should be accelerating. If you’re craving tight pacing and inventive thrills, you may leave bored; if you’re okay with a straightforward, modestly violent survival story carried more by atmosphere than surprises, it might be serviceable.