The Rental Blu-ray Movie

Rating summary

Movie		4.0
Video		4.0
Audio		4.5
Extras		2.0
Overall		3.5

The Rental Blu-ray Movie Review

Reviewed by Brian Orndorf November 24, 2020

The company Airbnb has done a remarkable job transforming the vacation rental marketplace, and it’s even more impressive how much it’s influenced genre entertainment. Over the last few years, terror from the depths of luxury living has been explored in “Trespassers,” “Welcome Home,” “Tone- Deaf,” and the recent “You Should Have Left.” And now there’s “The Rental,” which also examines an unfolding nightmare facing a group of travelers looking for the perfect getaway, only to come up against an insidious enemy. The effort marks the feature-length directorial debut for Dave Franco (who co-scripts with Joe Swanberg), and he’s done his homework, endeavoring to provide a spooky ride of mysterious events while gently working in a greater appreciation for character connections. He’s making a relationship movie with a body count, and it’s effective, more so when dealing with people and their problems than acts of murder.

In command of a thriving company, Charlie (Dan Stevens) and Mina (Shelia Vand) are partners looking to blow off a little steam, planning to rent a vacation home in the middle of nowhere to enjoy themselves. Charlie brings his girlfriend, Michelle (Allison Brie), while Mina arrives with Josh (Jeremy Allen White), her significant other and Charlie’s hot-headed little brother. Finding their way to a beautiful cliffside home, the foursome must deal with the renter, Taylor (Toby Huss), a strange man who doesn’t fully hide his bigotry, keeping Mina on edge. Settling into a rare shot of free time with drugs and access to a hot tub, Charlie allows himself to get as loose as possible while Michelle retires to bed and Mina confronts her relationship issues with Josh. However, all the fun stops when Mina discovers a small camera in her shower, which captured footage she doesn’t want anyone to see. Charlie feels the same way, with all signs pointing to Taylor and the possibility of his destructive plan for his guests.

Franco and Swanberg want to get to know the people who populate “The Rental,” opening the picture as a story of two relationships awkwardly intertwining. There’s Charlie, who’s living with Michelle, but he spends most of his time with Mina, helping to build a successful business together. Mina is involved with Josh, who’s Charlie’s brother and man with a troubled past he’s trying to inch away from. “The Rental” puts the foursome on an adventure into paradise, where they take up residence inside a large home, rejoicing in the dwelling’s privacy, telescopic access to the stars in the night sky, and promise of a hot tub hangout. Franco sets up the players with proper focus, even when some exposition is clumsy, trying to emphasize the sheer physical release of the get-together and Josh’s history of violence. There’s a dog in the mix as well, which isn’t allowed in the house, but Josh doesn’t care.

“The Rental” falls into familiar territory, watching as the gang deals with adventures of the night, including Charlie’s reunion with ecstasy and tours of the property, where Josh discovers a locked room underneath the house. All seems well with the party hounds, but mistakes are soon made, and ones that have the potential to destroy everything for the foursome, who wake up the next morning groggy and guilty. It’s here where a camera is found, the first of many, escalating “The Rental” from a story of potential ruination to one of panic, triggering a blame game as all signs point to Taylor’s sleazy voyeurism fetish. The renter is already a problematic guy, with a clear distaste for Mina and her Middle Eastern heritage, making her accusation seem like revenge without all the facts. Suddenly, everyone has something to hide or discover, giving the feature a pleasing charge of paranoia and jealousy, while Franco and Swanberg keeps plot turns and behavioral missteps coming, creating genuine suspense before scary movie stuff demands attention.

The Rental Blu-ray Movie, Video Quality 

The AVC encoded image (2.39:1 aspect ratio) presentation preserves the moody cinematography of "The Rental," which deals with a darker look, using limited light sources as daytime travel turns into nighttime horrors. Delineation preserves most frame information. Colors come through as intended, with warmer interiors and costuming, while outdoor adventures deal with a moonlight. Decorative primaries are preserved. Skintones are natural. Detail is strong with facial surfaces and fibrous clothing, and textures in various rooms of the house are appreciable. Heavier elements of fog bring on some artifacting, with the climax of the picture triggering flashes of banding.

The Rental Blu-ray Movie, Audio Quality 

The 5.1 DTS-HD MA offers a subtle listening event for "The Rental," which is primarily dialogue driven. Performances are crisp and emotive. Scoring favors a deeper sound of dread that often carries into the surrounds, enjoying sharp instrumentation. Mild panning and separation effects are utilized, and nature atmospherics and room tone are active. Low-end isn't challenged in full, but violence offers heavier hits.

The Rental Blu-ray Movie, Special Features and Extras 

• Behind the Scenes (5:32, HD) is a brief look at the making of "The Rental," featuring interviews with cast and crew (conducted on-set). Director Dave Franco shares the origin of his helming ambition and the creative intent of the picture, trying to manufacture a frightening film with real characters. Homesharing paranoia is detailed, with interviewees reinforcing the strangeness of the rental market. Praise for Franco is offered, and the cast is highlighted.

• And a Theatrical Trailer (1:59, HD) is included.

The Rental Blu-ray Movie, Overall Score and Recommendation 

The first two acts of "The Rental" are more effective than the feature's climax, with Franco scratching some horror movie itches as the picture becomes more physical, dealing with chases in the dark and body disposal mishaps. What's interesting about the film is how it generates more unease simply dealing with human fallibility and poor impulse control, giving the actors something to work with as exhaustion collides with self-preservation. "The Rental" reaches its full potential when wading into the muck of these unions. More slasher-y asides fail to carry the same level of dread.