Country USA. Average Rating 6,5 of 10. genres Horror. directors Dave Franco. Liked It 3673 Vote. 2020

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A relationship drama with a twist, “The Rental” has been accused of switching gears halfway through and becoming a different genre altogether. While one could watch the first half-hour of the film and think they had stumbled onto a Sundance indie movie that fits more in the character-driven world of co-writer Joe Swanberg than what the film eventually becomes, I disagree with the idea that this isn’t a horror movie from front to back. At first, it’s more about the horrors we inflict on each other, especially when we lie to our loved ones, and then debut director Dave Franco essentially makes that horror corporeal. It’s not particularly new to suggest that human failures lead to actual villains—consider the origin stories of Jason and Freddy, just as an example—but there’s a claustrophobic cause-and-effect in “The Rental” that keeps it humming, and feels fresh. The minute that two characters make a crucial decision, you know it’s all downhill from there. Franco has suggested that “The Rental” was conceived out of his general discomfort at Airbnb rentals. I get it. We just accept that we’re spending time in someone else’s house—someone else who has a key and can come and go as they please. Franco took that general unease and turned it into “The Rental, ” the story of two couples who will almost certainly break up in the near future... if they can survive the weekend. At first, with its wood shrouded POV shots, one might mistake this for an homage to ‘80s slashers, but it felt more akin to a Michael Haneke movie to me. Like Haneke, Franco is interested in actual, physical horror compounding emotional devastation and destroyed domesticity. Charlie ( Dan Stevens) has a success to celebrate at work with his partner and friend Mina ( Sheila Vand). From the beginning, it feels like Charlie and Mina are close in ways that could arguably be called dangerous. The film opens with her physically over his shoulder, giving the impression that they are one of the two couples, and then twisting it to reveal that Mina is really dating Charlie’s brother Josh ( Jeremy Allen White). The success has led Charlie to an Airbnb listing for a gorgeous house and he suggests that the two couples—Charlie’s wife Michelle ( Alison Brie) fills out the quartet—take the chance to get away for the weekend. They’ll hike, drink, do some drugs, and hang out in a hot tub. What could go wrong? From the beginning, there are signs that something could go very wrong, both in the relationship department and things that are far more sinister. Mina reveals that she tried to rent the house and was denied by the manager, a creep named Taylor ( Toby Huss), only to have Charlie get confirmed an hour later. Was Mina denied because of her race? Taylor blatantly asking how she “got mixed up” with the other three white people pretty much confirms that. And Mina is uncomfortable when it’s clear Taylor has been in the house while the four were out for a walk. There’s an argument to be made that Franco and Swanberg are suggesting something simple with their movie: If a rental or the person renting it makes you uncomfortable, go somewhere else. They don’t. They party, they make mistakes that they try to cover up, and then “The Rental” gets gnarly. The shots of the locked door under the house and the figure in the woods pay off in unexpected ways and the tension mounts. There’s an immediacy to “The Rental” that I really liked. The first hour may burn too slowly for some people, but I found the characters engaging, and the tech elements are top-notch in how they add tension without resorting to cheap tricks. Director Sean Durkin (“ Martha Marcy May Marlene ”) was an executive producer and his skill with atmosphere is on clear display here, and cinematographer Christian Sprenger (TV’s “Atlanta” and “GLOW”) does excellent work at conveying how even the nicest homes can start to feel threatening. Some decisions made by these two couples can feel a bit too clean and tidy in retrospect—there’s a version of “The Rental” that feels a bit more organic and less polished that I think would work even better—but there’s no denying that Franco lands his punches when he wants to. It’s a confident directorial debut, one that’s clearly been made by someone who knows exactly what he wanted to do with every frame, every performance, and every technical decision. A lot of actors and young genre directors come into horror cautiously mimicking the movies they like. What’s remarkable about this one is that while it’s easy to see a lot of Franco’s influences in “The Rental, ” he still finds a way to make this house his own. Now available at select drive-ins, theaters and digital platforms. Brian Tallerico Brian Tallerico is the Editor of, and also covers television, film, Blu-ray, and video games. He is also a writer for Vulture, The Playlist, The New York Times, and Rolling Stone, and the President of the Chicago Film Critics Association. The Rental (2020) Rated R for violence, language throughout, drug use and some sexuality. 89 minutes 1 day ago 2 days ago.

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Warning: This story contains spoilers about the final scene of “The Rental. ” There will be another warning before discussion of the film’s ending. If you’d like to read some non-spoiler-y “The Rental” content, check out this Mark Olsen review and this article on IFC’s drive-in movie strategy. Dave Franco makes his directorial debut with “The Rental, ” an atmospheric thriller that aims to subvert the familiar couples-getaway-gone-wrong horror premise. The film, which began playing on 251 (largely drive-in) screens on Friday and is also available on VOD, stars Sheila Vand, Jeremy Allen White, Alison Brie and Dan Stevens as two couples who rent a remote oceanside cabin together and are stalked by a voyeuristic predator. Franco says he was inspired in making the film as much by horror classics like “The Texas Chain Saw Massacre, ” “The Shining” and “Halloween” as he was by the rising class of horror filmmakers including Ari Aster, Jordan Peele, Jennifer Kent, Amy Seimetz and Sean Durkin. “These are filmmakers who are making projects that take their time to really creep up on you, ” he said. “And when they finally do, they land really hard and linger with you long after you watch them. “I would love to continue down this path and make more films within the horror genre, ” said Franco. “I have a pretty strong idea for a sequel to this film if I had the opportunity to carry on the story. ” The actor got his start directing short films and skits for the comedy website, and he wrote the script for “The Rental” with indie director Joe Swanberg (Netflix’s “Easy”), from a story credited to the pair and Mike Demski. “I’ve wanted to take the leap into directing a feature for a while now but I was a little bit nervous, ” Franco said. “But then I wrote this script and I realized I had such a strong idea for how I wanted to execute it. And then when I was actually on set, I realized I knew a lot more than I thought because I’ve been on so many sets as an actor. I felt like I was able to skip some of those steps, which immediately put me a little bit more at ease. ” The Times caught up with the first-time horror director to discuss the film’s twist ending, subverting well-worn horror tropes and the nexus of his fear about home-sharing. Warning: Major spoilers about the final scene of “The Rental” follow. (Allyson Riggs / IFC Films) How did you decide upon the twist to make the killer a former renter as opposed to the homeowner or someone else? I just tapped into that idea of wondering why we trust the people we’re renting to and thinking about how there must be people who stay in these rental homes and then make copies of the keys and come back at a later date to do whatever they want. It’s just a very creepy idea that I felt was worth exploring. So what exactly happened to Mina (Sheila Vand)? There’s a sequence at the end of the film where Mina is running from the killer and her vision becomes so impaired under heavy fog that she doesn’t realize she’s running toward the cliff’s edge and she falls. We don’t show her body in the ocean below because we wanted to leave it up to the viewers to have their own interpretations of whether or not she survived the fall. Did you ever consider a version of the movie where a member of the foursome survived? I think the main four died in every draft of the script. And that was partially because we wanted the killer to have a clean getaway so he could continue to go about his routine undetected. I think most people anticipate that there’s at least going to be one survivor. But we did make a point to keep the dog alive to at least give the audience a little bit of a win. There’s this strange thing where, as audience members, we sympathize more with animals than humans! I think it’s because they are these innocent creatures that don’t deserve harm. And also, Reggie the dog was technically the only one who didn’t do anything wrong in the movie, so that’s why we kept him alive. Technically Michelle (Alison Brie) didn’t do anything wrong either. Well, she didn’t call the cops. She could’ve called the cops but she didn’t. The film subverts some well-worn horror tropes. How important was it for you to create a new twist on a familiar story? We really tried to subvert the genre wherever possible to keep the audience guessing. In a lot of horror films, there’s a reason for why their cellphones don’t work. We wanted to challenge ourselves and create a scenario where their phones do work and they could call the cops if they wanted, so we created these problems that inhibit them from doing that. That felt like a somewhat novel approach to the technology side of everything. I wrote the script with Joe Swanberg and our goal was to create a tense relationship drama where the interpersonal issues between the characters were hopefully just as thrilling as the fact that there’s a psycho villain lurking in the shadows. Even when things start to go off the rails, we never wanted to lose sight of these characters and their relationships. Has making this movie soured your feelings toward home-sharing or had you already been against it? My levels of paranoia have reached their peak since filming this movie. Now when I stay in a rental home, I’m not thinking, Are there cameras here? I’m more thinking, I know there are cameras here, it’s just about whether or not I find them. You will literally find me standing on chairs and using my cellphone flashlight to look in the nooks and crannies of these places. Have you considered quitting rentals altogether? Not necessarily, and I think that’s partially what I was exploring with the film — that disconnect where we are all aware of the risks of staying in a stranger’s home but we never think anything will actually happen to us. So we subject ourselves to these scenarios where we’re potentially putting ourselves in harm’s way but we continue to do it out of necessity and convenience. Have you personally had a weird or creepy home-sharing experience? I personally haven’t had a nightmare home-sharing experience [but] I have had a terrible hotel experience. I was staying in a pretty dingy spot while filming a movie and I didn’t want to ask [the studio] to move me to a new hotel.... I was just going to suck it up. But then one day after they turned down the room, I went to bed and when I woke up, there was a splotch of dried blood right next to my face. I checked my body and I was not bleeding so I guess that was technically the “new sheet” that they had put on the previous day. At that point I asked them to move me to a new hotel because I draw the line at [having] a stranger’s dried blood near my face.

[Editor’s note: The following contains spoilers for The Rental. ] Two couples looking to get away for a quick weekend break get more than they bargained for when they use an Airbnb-like site to lock down a plush house on the Pacific Northwest coast in Dave Franco ‘s directorial debut, The Rental. The indie thriller from IFC Films stars Dan Stevens and Alison Brie as Charlie and Michelle, a married couple going on vacation with Charlie’s business partner, Mina ( Sheila Vand), and Josh ( Jeremy Allen White), who is both Charlie’s brother and Mina’s boyfriend. What is meant to be three days of relaxation quickly descends into a nerve-wracking stay at a stranger’s home. Over the course of 24 hours, an infidelity is consummated, secrets are accidentally disclosed, and, unbeknownst to the group, a masked killer is stalking them with sinister intent. The Rental builds to a shocking — and open-ended — finale which might leave you curious to unpack what actually happens. Keep reading if you’ve seen The Rental, but still need an explainer on the final, twisty act. What Happens at the End of The Rental? Image via IFC Films The final act of The Rental kicks off with Charlie, Michelle, Mina, and Josh’s vacation rapidly souring after Michelle tells the group she’s asked Taylor ( Toby Huss), the rental home property manager, to come over to fix the hot tub so she can use it. This coincides with Josh realizing his and Mina’s dog, Reggie, is missing, leading to panic over Taylor possibly throwing the group out for violating the “No pets” rental rule. Theorizing Taylor might have somehow taken Reggie, a paranoid Josh prepares for a confrontation as Charlie, Mina, and Michelle try to reason with him about how ridiculous his theory sounds. All of this only raises the tension in the group. Taylor arrives, fixes the hot tub, and is very nearly out the door when Mina asks him to come look at the showers. After a charged introduction the day before, with Mina all but verbally accusing Taylor of racist behavior toward her (which she has every right to believe is true), Mina takes Taylor into one of the bathrooms to show him the secret camera in the shower head. Mina and Charlie have been freaking out since they discovered the camera, knowing it has filmed them hooking up behind Michelle and Josh’s backs and could be used against them. When Mina confronts Taylor since she believes he’s the one who installed them, he’s confused, denying any knowledge of the cameras. Taylor and Mina get into an altercation, leading to Josh rushing in and beating up Taylor to the point he’s nearly dead. At this point, all hell breaks loose. Charlie and Mina reveal to Michelle and Josh the house is bugged, but don’t say what the cameras might have captured. Worries rise even more when they realize the cameras will have also captured Josh assaulting Taylor — a double whammy of bad shit for the group. As the group talks on the deck, the masked killer who has actually been recording the group for the past 24 hours enters the house and kills Taylor. Upon returning to Taylor’s lifeless body, the groups freaks out and hashes out their options. Determined not to let Josh take the fall for murder, Charlie resolves to dispose of Taylor’s body, and Mina and Josh agree to help. Appalled, Michelle wants to leave and go to the police, but goes into the bedroom first to lie down and process. Charlie, Mina, and Josh throw Taylor’s body over the cliffs at the edge of the rental property. Meanwhile, Michelle discovers footage of Charlie and Mina’s shower hook-up is being broadcast on the living room TV (courtesy of the killer), and is so upset she packs up to leave. Charlie, Mina, and Josh go to find Michelle. Charlie catches up with her as she is driving away. Michelle confronts him about the cheating before driving off, where the killer has laid a trap and kills her. The killer then eliminates Charlie, who is searching for Michelle, and Josh, who tries to take out the group’s tormentor after he sends footage of the hook-up to Josh’s phone from Charlie’s. Finally, with her boyfriend and friends now out of the picture, Mina is forced to run for her life with a killer pursuing her through the house and woods on the rental property. Just when it looks like Mina might be able to get away, she runs through the foggy forest and drops out of sight, having accidentally headed right toward the cliffs at the property’s edge as dawn breaks. The final moments of The Rental show the killer removing all evidence of his presence at the house. We watch as they remove more secret cameras and recorders from potted plants, light fixtures, and those pesky shower heads. They take off their mask and take a moment to bask in what they’ve done before petting the magically resurfaced Reggie and leaving to repeat the process of bugging another rental property in hopes of killing once more. What Does the End of The Rental Mean? The Rental taps into some very real fears about what it means to rent a stranger’s home for a casual getaway rather than go to a hotel. The unnerving possibilities of stepping into another person’s private space after you’ve paid to stay through services like Airbnb are endless. As Franco shared in his recent chat with Collider, he as co-writer wanted to explore what one of those unnerving possibilities might look like. He shared, “I think about how the country is as divided as it’s ever been, and no one trusts each other. Yet, we trust staying in the home of a stranger simply because of a few positive reviews online. ” Franco also touched on The Rental ‘s use of covertly-installed surveillance equipment as a device to instill terror in the characters and how the risk of the devices in our own homes being hacked to listen in or record us is a very real concern today. “I can’t help but constantly think about whether or not people are watching us through our computer cameras, and listening to our phone calls, and even when I’m on the phone with my family or close friends, in the back of my mind I’m always thinking, ‘Is someone else listening in on this? '” All of this leads to the ultimate point of The Rental: It’s common for us to plunge into the unknown every day, and in a variety of scary ways which could go so wrong, so quickly — and we don’t even think about it. Using technology is a hazard. Trying to go on vacation and perhaps looking for a cheaper or cozier alternative to a chain hotel is a hazard. Hell, whether you decide to leave your home or stay cooped up is a hazard because, no matter what, you can be accessed by anyone who wants to interact with you. The boundaries between private and public life have eroded. The Rental taps into the fears of what can come rushing in when you least expect it. Worse still, what can come rushing in is frequently some unknown entity. The Rental chooses to not reveal the killer’s identity or motives for doing what they do. This, as Franco told Collider, as a conscious decision which speaks to the movie’s larger themes around privacy and the exploration into the terrifying side of home rentals. We want to keep the identity of the killer unknown. It was in the original script. Without giving away too much, there were early drafts of the script where we did have the villain monologuing about why they were doing what they were doing. It just felt preachy and cheesy. We decided to strip that away and felt like there was something much creepier about the ambiguity of it all. I feel like that’s all I can really say without giving away too much more. Basically, The Rental is here to remind you to always be on guard. You never know who might be watching (or listening) to you. Will The Killer in The Rental Continue to Kill? It’s pretty clear the unknown killer will continue to terrorize unsuspecting rental guests with the same level of efficiency as they did with Charlie, Michelle, Mina, and Josh. As the movie wraps up and moves into the end credits, we see teases of the killer’s next victims. The end credits reveal the killer’s POV, with covertly-obtained footage showing a new group in a new rental exercising, cooking, watching TV, using the restroom, and sleeping. As the credits wrap up, we see the masked killer rush out from a closet to kill the first unsuspecting victim as they sleep. Should a sequel to The Rental get made, it’s possible we’ll see even more from this killer — or a person operating in a similar manner. When we spoke with Franco about these end credits and whether it hints at a sequel, the first-time director shared, in part, “I have a pretty strong idea for what I would do with the sequel if I was lucky enough to get the opportunity. Without giving too much away, I would want to explore the mythology of the villain a bit more, and also set the story outside of the U. S. because there are Airbnbs and home shares all over the world. ” And so, pleasure seekers beware. You never know what you might getting into when you rent out someone else’s home for a little R&R. The Rental is now available in select theaters, drive-ins, and on-demand. Allie Gemmill is the Weekend Contributing Editor for Collider. You can follow them on Twitter @_matineeidle.

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