The Rental
IFCRenting a house for a weekend getaway in the 21st century might not be quite as safe as it once was. This is the premise behind Dave Franco’s directorial debut, which he writes and produces. Two couples get more than they bargained for when a celebratory weekend away in a luxurious rented property turns into a nightmare for all concerned.
From the very beginning, there is a sense that not all is what it seems with the films two couples. Charlie, played by Dan Stevens, is in the midst of sharing business success – although what business is unclear – with his brother Josh’s wife, Mina (Sheila Vand). They are professional business partners yet undeniably close. Charlie is married to the delightful Michelle (Alison Brie), who appears secure in her relationship and unfazed by any affection Charlie throws Mina’s way. However, once the two couples leave for a remote rented property to celebrate, tensions within the group begin to surface and cracks emerge. Another source of tension comes from meeting the owner of the property upon arrival, who immediately displays more than a hint of racism towards Mina. It’s clear the group feel threatened by his presence, some more than others, and are rightfully concerned with their security as suspicions grow that he may be spying on the them. For anyone concerned that this might be an inferior affair, due to it being the actor’s first attempt in the director’s chair, can rest assured. Dave Franco isn’t phoning this in, it’s clear that this is a very accomplish looking film with dedication taken in both the script and the production. Franco gets the best out of his actors, too, as the majority of the runtime engages the audience in the group's dynamics: flaws and secrets are exposed, the metaphorical masks hidden behind are removed for all to see, no matter who gets hurt in the process.
Franco even decides to shift genre for his final act, as the film focuses on the immediate danger from intrusion when a masked man wielding a knife shows up with the intention of causing harm beyond repair. It’s this change of pace that will leave some scratching their heads whilst others applauding Franco for his refusal to play towards genre convention. On this evidence alone, Franco is a director to look out for in future. The Rental is a film that is hard to define. For the majority of its runtime, it feels like a melodrama, with added dramatic moments towards its conclusion that will come to a complete surprise for anyone approaching the film blind. Horror is a genre often criticised for its lack of character depth, boasting a host of cardboard characters with very little beyond the stereotypes they represent; the viewer can be left with little invested empathy towards the characters and their survival. However, in recent times, horror has been explored with more depth and Dave Franco looks to continue that trend here.
Having said that, the slasher element added feels mishandled. Not enough time has been given to the tension and dread of what is happening to those we have investment in. Whether that is intentional, rather than unexplored, will largely depend on the genre attribute to The Rental. Anyone expecting a horror film will be left disappointed, as most of what’s on offer here feels underwhelming and rushed. Although, the film does leave a nasty sting in its tail, a gut punch of undeniable terror that should make us all think twice before we book our next weekend away.