‘The Rental’ A Simple and Effective Debut from Dave Franco (FILM REVIEW)

Rating: B-

There’s something about that old horror standby, the cabin in the woods. It’s one of the longer lasting genre tropes that, for some reason, doesn’t get old. Take a secluded cabin (or lodge, or house, it doesn’t really matter), add a few people and, well sir, you’ve got yourself the makings of potential horror.

It’s simple and effective, utilized correctly, and I can see the appeal in using this set up for your first film, which director and co-writer Dave Franco does in The Rental. Franco has crafted an effective little thriller in his directorial debut one that, even while playing to conventions and standards of the genre and form, never fails to elicit the thrills and chills you might expect from this kind of film.

Franco doesn’t need to stretch too far for this film, as the tropes are so well trod that it doesn’t need much to be truly effective. And yet that hasn’t stopped him from exploring what might be capable in a film such as this. The Rental combines aspects of slasher films with indie romance drama to decent effect here. Even while the outcome might feel somewhat pre-ordained, it never stops The Rental from becoming an excellent example of its form.

The film follows two couples, Charlie and Michelle (Dan Stevens and Alison Brie) and Josh and Mina (Jeremy Allen White and Sheila Vand) taking a weekend away before Charlie and Mina, who are business partners, begin the process of taking their company, newly flush with capital, to the next level. Deepening the character drama here is the fact that Josh and Charlie are also brothers. The varying relationships between the characters creates an intricate web of emotion and resentment between everybody staying in the secluded house, all of which comes to a head when they realize that someone is watching every move they make.

While The Rental offers little that’s fresh or unique as a narrative, that never stops it from being fun for fans of claustrophobic horror. Franco shows remarkable restraint as a director, slowly leading us down a twisted path of intrigue and betrayal before we even catch our first glimpse of our slasher. This allows him some room to play with genre and type somewhat as he works to establish his characters and their, frankly, convoluted relationships.

By the time our killer finally hits the scene, the group is so bedraggled by revelations of secrets and betrayals that addition of a murderous psychopath feels almost unnecessary. Almost, but not quite. The tension that’s built between the characters is, by this point, sky high and the unwanted guest offers just the right amount of terror to take The Rental home.

Even with all the cookie cutter plots and familiar character tropes, there’s an earnestness to The Rental that helps elevate it to something higher. Yeah, you can pretty much guess the plot beats and ending from the start, but the journey Franco takes us on to get there is full of enough tension and thrills to make you forget about how similar to other films The Rental actually is.

This is in no small way due to the performances from its cast. Stevens and Vand, especially, really dig into their characters to create fully formed and fleshed out individuals who, trope ridden though they might be, do offer some unique perspectives. Unlike most slasher films, there’s not a teenager in sight. This gives The Rental space to be somewhat more sophisticated than many of its brethren and allows the narrative to explore more mature themes than is usually found in these types of films.

With a runtime just under 90 minutes, The Rental is the perfect distraction for horror fans looking for something both familiar and fun. This is a film that knows exactly what it’s trying to be and never does it try to be anything else. Fans of cabin in the woods style seclusions will find plenty to enjoy here even if it never breaks new ground. Ultimately, The Rental is just a fun little exercise in effective horror making and, at that, it does a pretty good job.

The Rental is now available in theaters and on demand.