In the film Passengers, Chris Pratt is accidentally woken from hibernation early into a long space voyage and deliberately wakes Jennifer Lawrence so he won’t be alone. It’s not bad, but it struggles with a predictable arc, and its unresolved tension between ‘creepy guy thriller’ and ‘sci-fi romance’.
I stumbled on this video about it, which makes a good argument Passengers would be better from Lawrence’s perspective.
With the plot shifted to allow the viewer to take a more active role picking up on clues, and be surprised as the reveals come with increasing tension, the arc would be more engaging. With a change in viewpoint character and suitable adjustments to the closing act, the story could begin as a mysterious sci-fi romance with hints of something untoward and develop a darker tone – rather than its confused mish-mash.
From all this, I think writers can draw some helpful questions to ask themselves:
- Is this being told from the right viewpoint?
- How is the chosen viewpoint shaping audience sympathy, and does this support or conflict with the themes?
- Is the plot structure predictable?
- Does the plot structure encourage the audience to passively take in the story, or to actively pick up on hints and form interpretations? (Though, too much of the latter can also be frustrating.)
- Would there be a benefit to revealing certain things later?