Shrouded in a gaussian blur of coastal fog a rental property sits, awaiting victims. Business partners Charlie (Dan Stevens) and Mina (Sheila Vand) want to celebrate a business milestone by renting the coastal getaway and bringing their significant others. What writer-director David Franco’s new thriller THE RENTAL really leans into is that while everything seems aboveboard, few questions are answered. Who are they renting the property from? Why would they not rent to Mina based on her foreign name, but then eagerly rent to Charlie, a white male with an American-sounding name? Mysteries abound and a rather taut thriller continues to twist and turn for a good 90 minutes until it decides that it’s checkout time. With everything going for it, THE RENTAL is a glossy, twisted thriller until it decides to sputter to a close. But man what a ride.

The two couples ride across the state to the coast, musing on the luxurious time they will have. Charlie has his fun-loving girlfriend Michelle (Alison Brie) along, while Mina has brought her well-meaning but oafish boyfriend Josh (Jeremy Allen White).  It just so happens that Charlie and Josh are brothers. While Charlie is the upstanding entrepreneur, Josh is the type to disregard the no-pets policy of their rental by bringing his new French Bulldog.  The two rib each other but there is a bond there.

Upon arriving, creepy caretaker Taylor (Toby Huss) greets them and shows them around the expansive property. After a few uncomfortable moments that touch on personal boundaries and the transitioning of rental property to personal space, Taylor speeds off in his pick up and the four thirty-somethings begin to relax. It is here that Franco and co-writers Joe Swanberg and Mike Demski, insert the expository mechanics of the interwoven relationships at play. Mina and Josh are a mismatched couple, with Mina being the forceful creative and Josh the dopey, well-meaning partner. Then we have Charlie, older brother to Josh, who is the go-getter and creative, who brought along kind-hearted Michelle. That night the drugs and alcohol come out and while two from the group head off to bead, two others live their best lives. Kinda. Well, things happen.

With Taylor the creeper caretaker, and plenty of secrets afoot amongst the vacationers, you can see where this might go. Except THE RENTAL has a little more to offer than a simple comedy of errors. After Mina discovers a camera in one of the showerheads the stakes are raised and gloves come off. One thing I will say about the plot for THE RENTAL is that it took an idea that could have played out as banal, and turned it into something clever. It pulls this off using a delicate release of information that repeatedly gives everything a new lense right up until the bitter end. But that’s just it. Pulling the trick off so well so many times, eventually, a film as Hitchcockian as this does need to come clean at some point.

For their parts, the five principal players are actually very good. Each have their own specific flavor, bringing a specific element to the film. For some reason, Vand‘s Mina is an earthy and solid presence that makes the follies believable when others stammer. The major credit though must go to the carefully scripted film and the work that Franco does in directing. It’s not perfect, in fact maybe a little too restricted at times, but what is here is polished and sleek. A consistent look and feel, along with some cunning cinematic tricks make this something that rises above the normal low-budget, high concept thrillers.

In short, THE RENTAL is a crackling thriller that marks the arrival of a talented director. It’s Rear Window, a bit of Vertigo, and a touch of Psycho. This isn’t a totally satisfying thriller but it is one worth a watch.

MOVIE RATING — 7 out of 10 ☠️