THE RENTAL (2020) – Review

It looks like whatever crystal ball (maybe more of a big fishbowl) Hollywood was consulting certainly proved it’s worth. That’s because with most of the country on near-constant “staycation” (the other countries have pretty much shut their doors in our faces) the studios have supplied an almost constant stream (I should say “streaming”) supply of films concerning characters in “faraway places” or on their way to getaways. Vicariously we’ve been to Naples (PIRANHAS), Cornwall (FOUR KIDS AND IT), and a funny TRIP TO GREECE. But this country’s not been left out with last weekend’s EASY DOES IT driving a battered Mustang from Mississippi to Texas and stalling out in sunny San Clemente, CA. What’s the destination this week. Well, let’s head north to the Portland area, or nearby, to spend a wild long weekend with two fun-loving couples ready to kick back and enjoy some “R and R” at THE RENTAL. Ah, but they learn too late that getting away from it all (of course their cell phones get “no bars”) can make them the perfect prey.

Of course, the story begins at the place they need to “get away” from, namely the city of Portland. Charlie (Dan Stevens) and Mina (Shelia Vand) are partners in an “on the rise” design firm downtown. The business has been so great that they decide to rent a place on the water (an Airbnb type online deal) for the long upcoming weekend. But it’s not just for the two of them. Charlie’s bringing his live-in love Michelle (Alison Brie), while Mina’s with Charlie’s younger brother Josh (Jeremy Allen White). The road trip gets off to a bit of a rocky start when Josh insists on bringing his pet pooch Reggie (the listing was adamant banning pets). And Mina’s miffed at the renters for accepting Josh’s bid and not hers (she thinks her Middle Eastern name may have been the reason). When they arrive, the quartet is met by the house owner’s brother Taylor (Toby Huss) who lives nearby and does the upkeep on the gorgeous two-story luxury home. He also vets the renters which prompts Mina to question his decision on her inquiry. Luckily Charlie smoothes things over, the dog is kept out of sight, and Taylor promises to return to finish some minor repairs. After he leaves they debate about topping off Dinner with some psychedelic ‘shrooms. Michelle is too wiped out from her recent work deadlines, but promises that she’ll be up for it tomorrow (so, they better leave some). The trio indulges with Josh quickly fading. Charlie and Nina (now quite loosened up) fire up the hot tub. But with their “defenses down” the two act on their attraction, taking their tryst from the tub to the main shower. With dawn’s light, Mina notices something odd about the showerhead. Could it be a tiny camera lens? One transmitting to a router? Charlie joins her in a frantic search. Could these have been planted by the surly Taylor? Is it blackmail or is it something more sinister? And can they keep their indiscretion a secret from the oblivious Michelle and Josh?

The cast’s main quartet does their level best to bring the often flighty, undisciplined characters down to Earth. Stevens, best known to movie audiences as the Prince in the recent live-action (mostly)BEAUTY AND THE BEAST, is a compelling protagonist, the de facto leader of “the band’, reveling in the “commander” role. We soon see the cracks in his confident facade as he gives into lust. It also puts him in sweaty panic mode as he feverishly tries to make things “normal”, a near-impossible goal. Vand exudes an air of cool detachment in her early scenes as Mina, but she’s quickly put on the defensive by the renter’s perceived prejudices. Her friends, especially partner Charlie, are stunned when she decides to “pick a fight” just after the keys are handed off. Later she’s just as frantic as she discovers the “little spy” in their midst. Brie as the unawares Michelle appears to be the more reasonable “go with the flow” vacationer, who just happens to get high at the absolute worst time (prompted by her new knowledge of Charlie’s checkered romantic history). That intel is clumsily provided by brother Josh, who is given a “wild card” vibe by White. The slower sibling always feels as though he’s “in over his head” financially, intellectually, and emotionally. We’re told of his violent past which brings greater urgency to the cover-up. When his beloved Reggie vanishes his concern proves to release his inner demons. And they all, well maybe not Michelle, have qualms about Taylor, played with simmering menace by Huss. He wears the mask of an “easy-going reg’lar Joe”, but we can almost see steam rising from its edges as he tries to repress his seething jealousy of the privileged young couples. All his friendly gestures seem to have a dark, almost pitch black, undercurrent.

This marks the feature directing debut of actor Dave Franco (yes, James’ lil’ bro), who also collaborated on the script with Joe Swanberg and Mike Demski. He does his best to try and smooth over “the stitches” of meshing two types of stories (I kept thinking of the first FROM DUSK TILL DAWN going from criminals on the run with hostages caper to blood-soaked supernatural thriller). The first half or so is an intimate profile of two couples loosening up (with some it’s way too much) out in the middle of the woods, facing some hard emotional “truths”. Franco has a confident style in framing these scenes of lively conversation and frivolity (bring out the ‘shrooms). Then the paranoia kicks in, as the film becomes a new variation of the “stalking menace” movies of the past complete with the “POV” going after each character (they naturally split up). With Swanberg’s involvement, perhaps this is meant as a “mumblecore” take on the “horny teens” in peril flicks of the early ’80s. It’s then that the story becomes less engaging as the characters suddenly all sprout targets on their backs. Plus it becomes increasingly difficult to follow as the woods (of course) are filled with soupy mist and fog. A “found footage” epilogue may plant the seeds for a sequel, but it just adds to the confusion of the final act. That abrupt change in tone feels like a cinematic whiplash, frustrating drama, and suspense fans. Like the featured house, the film may look promising on the website, but THE RENTAL has lots of structural flaws. That’s why I’ll scroll down to its comment section and give it…

2 Out of 4

THE RENTAL opens at theatres and drive-ins everywhere and screens exclusively in the St. Louis area at the Hi-Pointe Theatre and the Galleria 6