Dave Franco (younger brother of James) is the fledgling auteur responsible for The Rental, and unlike most coattail grabbing siblings, he demonstrates legitimate ability in the cinematic arts.
Of course, vacationers in peril isn’t the most original concept, but we’ve seen filmmakers do more with less.
Charlie (Dan Stevens, who seems to be making a career in genre films), a big-shot tech dude on the verge of a major career spike, makes arrangements for a celebratory weekend getaway at a well-appointed beach house on the Oregon Coast.
His wife Michelle (Alison Brie), and underachieving kid brother Josh (Jeremy Allen White) are part of the party, as is Josh’s Iranian girlfriend Mina (Sheila Vand)—who also happens to be Charlie’s coworker.
Problems predictably boil to the surface in short order: Mina suspects that Taylor (Toby Huss), the beach-house caretaker, is a racist and makes an issue of it. Michelle doesn’t want any Molly, so the other three party without her. Mina and Josh bring an adorable French bulldog with them, despite a No Dogs clause in the rental agreement.
As the drugs take effect, Charlie puts the moves on Mina, even though she’s in a committed relationship with his hot-headed younger brother, currently crashed on the couch. While Charlie’s wife sleeps peacefully in the next room, the horny workmates knock boots in the shower.
Shortly thereafter, Mina discovers micro cameras installed in the shower head and things take a very paranoid turn. Charlie and Mina immediately seize on the idea that Taylor, a man they’ve never met before, is going to blackmail them with illicit footage of their midnight hanky-panky.
If that wasn’t enough, the dog disappears. (He does not die.)
Franco succeeds in sparking tension and earning our interest, as it’s obvious from the assortment of perspectives we’re presented with, inside and outside the house, that someone is watching these frisky beachcombers screw around and catching it all on camera.
Sadly, The Rental builds shakily to a half-baked massacre that clarifies zilch. I honestly pictured a nation of viewers looking quizzically at one another while shrugging their shoulders.
My complaint is simply this: We spend 95 percent of the running time of the movie putting up with a philandering tech bro and his flawed posse, only to have a deux ex machina come in and wipe them all out?
Who’s the guy in the mask?
Hey Little Franco, if we’re forced to go online for an explanation of your movie’s ending, you’ve failed your obligation as a storyteller.
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