Well-known actors crafting nifty little suspense thrillers tinged with horror has become a thing lately (think John Krasinski’s A Quiet Place and Joel Edgerton’s The Gift). Dave Franco gets in on it with The Rental, which is swift in its running time and plentiful with twists that you see coming and some that are nicely rewarding. It also features a quartet of solid performers whose weekend getaway gives them far more than they bargained for.
Charlie (Dan Stevens) finds a swanky vacation house to nab for the weekend with help from his trusted assistant Mina (Sheila Vand). They’re celebrating something going right with their business and it’s good reason to let their hair down with Charlie’s wife Michelle (Alison Brie, the director’s real life spouse). Mina happens to be dating Charlie’s brother Josh (Jeremy Allen White) so he tags along with his puppy. Pets aren’t allowed at the establishment, but that turns out to be the least of their issues. For instance, there might be a psycho around and it’s not safe to be in the shower.
Upon arrival, the foursome confront the property’s caretaker Taylor (Toby Huss). The first problem is a racially tinged one. Mina, who’s of Middle Eastern descent, tried to rent the place and was promptly denied. Charlie had no such trouble. They decide to overlook that and the first night becomes an alcohol and designer drug filled party. This is where the aforementioned “twists” that follow are somewhat predictable in nature. However, the actors have a real chemistry with one another and you’ll want to see where it all leads.
Without venturing into spoiler territory, The Rental isn’t its eventual genre for about two thirds of its brisk 88 minutes. Credit is due to Franco and Joe Swanberg’s script for keeping the audience engaged in the dynamics of the four principals. Of them, it’s Vand who has the best role and she’s quite impressive.
When we arrive at the final third, the build up has been sturdy enough that we care about the fates of the characters as they navigate their way through dense fog and deeply personal conflicts. Franco has crafted a lean and effective directorial debut and its title is worth the price of one.
*** (out of four)