Hello everyone! Since this is my first post here at The Sheist and it’s October, I thought it would be a good opportunity to introduce myself via a seasonal film recommendation.
I logged into Netflix fully intent on watching a particular Taiwanese horror flick I’d had on the docket for some time instead of the episodic content the streaming giant is primarily used for in my household but, as I scrolled through the other genre films that Netflix had to offer, my eyes caught the creepy image of a masked man used as the cover of Dave Franco’s The Rental from 2020.
When I stopped scrolling, a familiar voice came pouring out of my speakers as the trailer began. It was the voice of Jeremy Allen White, who is probably best known for his gut-wrenching work on Showtime’s US version of Shameless. He has gained recognition for his recent portrayal of a young Chicago chef on FX’s hit tv series, The Bear, but my love of his work stopped me in my tracks and led me down the roundabout to check out this slightly mislabeled thriller.
The Rental tells the story of two couples looking to get away for the weekend and find what they’re looking for in an expensive oceanside home. After arriving at the property, they become suspicious of its caretaker as the weekend shifts from a molly-induced party to a nightmarish reality in one night. That’s all the plot I’m going to give because my purpose is to guide others to films they may have not yet seen.
Right away, I noticed the pedigree of acting with names like Dan Stevens, Alison Brie, the aforementioned White, and (A Girl Walks Home Alone at Night star) Sheila Vand. All four do a nice job at massaging the obvious thematic statements on trust and keeping the tone of the film steady towards its thrilling final scenes. Brie and Stevens work well together as a believable young married couple trying to help White, Stevens’s brother in the film, not screw up his romantic relationship with Vand, who plays Stevens’s work partner. I also have to mention Toby Huss as the caretaker. Along with White, he effortlessly steals every scene he’s in just as he’s done throughout much of his career. Seriously, watch Halt and Catch Fire now.
I was most pleasantly surprised by a few of the more technical aspects and they’re a big part of what earned my recommendation. Christian Sprenger’s cinematography of Pacific Northwest beaches, cliffs, and fog is a joy to look upon and he pairs that with a couple of subtle yet impressive camera moves when you’re least expecting them. As an emphatic music lover, I would be remiss if I didn’t mention the Danny Bensi and Saunder Jurriaans score. While not completely wowing, it lurks around corners and hides in closets only to reveal itself effectively when needed. A special shoutout goes to the practical effects designers. Those effects are used sparingly but are realistic and stomach-churning when they appear.
Lastly, the script penned by Franco and Joe Swanberg, based on a story by themselves and Mike Demski, is what makes it more of an erotic thriller than a true horror film. It does drag a beat in the first third but hides enough from the audience to flip the switch emphatically near the halfway point, with the last third providing all of the horror needed to complete this story.
Unfortunately for everyone involved in this film, it felt incorrectly marketed as a horror film and has sadly fallen by the wayside in that genre. With everything going on in 2020, being released that year may have had something to do with that as well. I would recommend giving this one a go if you’re in the mood for a quick thriller with good performances, set in dreary locales, and can look past a slow beginning and maybe a couple of unanswered questions.
IF YOU ENJOY: Horror films that may more accurately be described as suspenseful thrillers like Hush (2016) and The Gift (2015).