Netflix’s Bloodride is a six-episode anthology series that takes a simple premise and pushes it into the territory of the grotesque. Created by Kjetil Indregard and Atle Knudsen, the show follows a bus carrying a dozen passengers through a stormy night, with each episode focusing on one of those doomed souls as they exit the vehicle. It is a horror series built on dread, claustrophobia, and the slow reveal of what the passengers are running from.
The show premiered on Friday, 13 March 2020. It is a short watch at six episodes, but its ambition is outsized for its runtime. The series is a collaboration between the creators, with a cast led by Stig R. Amdam, Anna Bache-Wiig, and Ellen Bendu, alongside a supporting ensemble that includes Bjørn Birch, Pia Borgli, and Mette Spjelkavik Enoksen.
Trailer, via Netflix.
The Bus and Its Passengers
The premise is straightforward. A bus drives through a storm in the middle of the night, its passengers unaware of their shared destination. Each episode focuses on a single passenger, who steps off the bus and becomes the center of the story. This structure allows the show to shift tones dramatically from one chapter to the next.
The bus itself becomes a character of sorts. It moves through a landscape that seems both ordinary and deeply wrong, with the rain acting as a constant presence that blurs the line between safety and terror. The passengers are a mix of strangers, each with their own secrets and fears. They include Edmund Bråthen, played by Stig R. Amdam; Iselin, played by Anna Bache-Wiig; and Sanna, played by Ellen Bendu. The remaining passengers are Herr Kloppen, Margrethe, Marcus, Monika, Odd, Sissel, Georg, Unni, Otto, Olivia, Kristin, Butikkdame, Paul, Fru Kloppen, Alex, Abdi, Katja, Helene, Leon, Philip, Oda, Erik, Fru Kloppen sin vennenne, Bensinstasjonsansatt, Bill, Molly, Rektor Ogland, Mari, Trine, Agda, and a young girl named Ella.
What Makes a Good Episode
Not every episode lands with the same force. Some chapters feel like a setup for a payoff that never arrives, while others deliver genuine scares and memorable images. The best episodes in the anthology succeed because they commit fully to the absurdity of their situation. The worst ones stumble on exposition that feels like filler rather than a build toward something.
Here is a quick look at how the individual episodes stack up:
- Episode One: Introduces the bus and its passengers, establishing the tone.
- Episode Two: Focuses on a passenger whose past catches up with them.
- Episode Three: A character’s present crisis takes center stage.
- Episode Four: The bus reaches a landmark, and the stakes rise.
- Episode Five: A passenger’s inner demons surface.
- Episode Six: The final destination is revealed.
The show’s strength lies in its willingness to play with expectations. The anthology format means each episode can be its own story, and the series takes full advantage of that freedom.
The Cast and Their Performances
The cast delivers across the board. Stig R. Amdam brings a weary exhaustion to Edmund Bråthen, a man who seems to know more about the bus than he lets on. Anna Bache-Wiig gives Iselin a haunted quality, while Ellen Bendu plays Sanna with a quiet desperation. Bjørn Birch, as Herr Kloppen, and Pia Borgli, as Margrethe, bring a grounded menace to their roles. Mette Spjelkavik Enoksen’s Monika stands out for her sharp wit.
The supporting cast fills out the bus with a sense of community that the show slowly tears apart. The young girl Ella, played by Ella Indregard Yttri, and her sister Trine, played by Ingrid Anne Yttri, add a child’s perspective to the proceedings. The ensemble is large, and the show manages to give each character a moment in the spotlight.
The Horror That Works
The horror in Bloodride is often subtle. It is less about jump scares and more about atmosphere. The show builds tension through the mundane, making the everyday feel strange and threatening. The rain, the dark road, the endless highway — these elements combine to create a sense of isolation that is far more effective than any explicit gore.
When the show does go for the gross-out, it leans into body horror. The anthology format allows for a wide range of tones, from psychological dread to physical revulsion. The episodes that work best are the ones that find a balance between the two.
The Episodes That Don’t Land
Not every episode succeeds. Some feel like they are setting up a twist that never comes. The anthology format can be a double-edged sword, allowing for variety but also risking unevenness. The pacing suffers in a few chapters, with the middle episodes feeling like filler before the payoff arrives.
The show’s ambition occasionally exceeds its execution. There are moments where the premise feels more interesting than the actual storytelling. The anthology format demands a strong payoff, and not every episode delivers one.
Final Word
Bloodride is a flawed but compelling watch. Its ambition is clear, and its commitment to atmosphere is undeniable. The anthology format allows for a wide range of stories, and the show takes full advantage of that freedom. The cast is uniformly strong, and the performances carry the show through its weaker stretches.
The show is not perfect. Some episodes drag, and the anthology format means there is no room for a weak chapter. But the highs are high enough to recommend it to anyone who enjoys horror with a dash of the surreal.
| Episode | Focus | Strength | Weakness |
|---|---|---|---|
| One | Introduction | Establishes tone | Setup-heavy |
| Two | Passenger Past | Strong performance | Exposition |
| Three | Present Crisis | Atmosphere | Slow pace |
| Four | Landmark | Tension | Unresolved thread |
| Five | Inner Demons | Character depth | Overlong |
| Six | Destination | Payoff | Anti-climactic |
The anthology format is a gamble, and Bloodride mostly pays off. It is a show that rewards attention, even when it stumbles. The best episodes are genuinely frightening, and the worst are merely forgettable.
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