The Rental (2020) Review – A Stylish But Average Vacation Slasher

Welcome to Knockout Horror. We have covered a lot of voyeuristic horror movies here on Knockout Horror. Today we are looking at The Rental (2020).

More Voyueristic vacation horror fun

If you love this topic, we just put together a list of 25 Stalking and Voyeuristic Horror Movies Ranked. One of the movies in that list is the one we will be looking at today – The Rental. It’s directed by Dave Franco with writing by Franco, Mike Demski, and horror veteran Joe Swanberg.

The Rental follows two couples in their thirties as they head to a vacation home for a weekend of rest and relaxation. What starts as a few days of basking in the sunshine, taking walks and drinking too much quickly becomes sinister as it appears someone has placed hidden cameras around the house to spy on the couples. Something which threatens to reveal secrets that could fracture the group right down the middle.

This movie is the directional debut of Dave Franco who you may remember as that really annoying character from the last season of Scrubs. Or from his much better turn as Greg Sestero in his brother James Franco’s award-winning movie The Disaster Artist. Dave Franco has been around the movie and television business for a long time. And it is no surprise that he has managed to secure a well-known cast and a substantial budget for what is, otherwise, a rather run-of-the-mill vacation horror.

Just a pretty average horror

It is worth me pointing out that this is another group of late 30s friends hanging out and being, generally, a bit embarrassing. If your appetite for that is as weak as mine, you may want to give this a miss. With that being said, The Rental is simply a pretty average horror movie.

“The Rental is a rather average horror movie. It features an extremely unlikable cast that will leave you desperately hoping they finish the movie with a few extra orifices.”

It features an extremely unlikable cast that will leave you desperately hoping that they finish the movie with a few extra orifices. A plot that pushes a strange relationship drama to keep the story moving forward. A killer that lacks any real motivation and an ending that is both anticlimactic and rather rushed.

The relationship drama here actually seems to take centre stage ahead of everything else. In fact, when the blood starts to spill, it’s hard not to feel as though Franco only did it because he realised that he should probably move away from the interpersonal drama a bit. Given the fact that this is supposed to be a horror movie and all. Forcing him to reluctantly put together a loose and poorly fleshed-out killer with limited motives.

Voyeurism elements are an afterthought

The voyeurism elements here are, really, a simple tool used to push the plot forward. Whereas movies like Alone With Her and 13 Cameras really go heavy into the whole spying thing, the only reason for it to exist in The Rental is to create some added tension and give our characters a reason to panic.

You don’t feel as though the character’s intimacy is being invaded and the characters are, really, not likable enough for you to care. Don’t expect intriguing moments that reveal deep secrets. The cameras are only there to create more drama.

This is also the case for the slasher elements. The characters, for much of the film, really don’t feel at much risk. In fact, when things really start to ramp up, there is a distinct sense that the horror elements have been shoehorned-in and completely rushed. They don’t have any time to marinade or develop, leading to a very limited sense of tension and no scares at all.

“The voyeurism elements are a simple tool used to push the plot forward. Don’t expect intriguing moments that reveal deep secrets; the cameras are only there to create more drama.”

There’s a distinct “blink and you will miss it” sense to the kills. Making them feel like they came out of nowhere and leading to them being over before they really began.

Added to this are some moments of complete stupidity, where characters act in farcical ways that defy explanation, purely to push the story forward. It’s a bit frustrating and represents an inexperienced writer who struggles with well-structured plot development. Certain characters act completely inexplicably and it only makes you dislike them more. The Rental is very hard to invest in.

Acting and direction are fine

Acting is fine, even if the cast is utterly unlikable. Dan Stevens, as Charlie, does a decent job with his American accent, never really slipping up and is convincing throughout. Alison Brie as Michelle, is one of the more likable members of the cast. She manages to gain a few laughs here and there. She is still incredibly annoying in parts, though.

“Dave Franco’s direction is decent. He clearly understands how to get the most out of a wide lens, making excellent use of space and tracking characters as they move.”

Sheila Vand, as Mina, is fine as is Jeremy Allen White as Josh. It’s a strong collection of performances, as you would expect from a seriously experienced cast. Franco has managed to pull in some decent talent via his Hollywood connections.

Speaking of Dave Franco, his direction is decent. He works well with cinematographer Christian Sprenger to put together a very nice looking film. Shots are set up well and he does a good job of putting together a tense, moody atmosphere. Some of the scenery shots are utterly fantastic.

Continuity is fairly decent and I appreciate Franco’s tendency to linger on a shot for a significant amount of time. He makes excellent use of space and tracking characters as they move rather than switching angles. He clearly understands how to get the most out of a wide lens. That’s something which is normally a trait of more experienced directors. He could use a little work on the pacing front, though. The Rental feels rushed and hectic at times.

Our Scoring Philosophy: A Fair Fight

Horror is a genre that thrives thanks to indie film makers and low budget creators. At Knockout Horror, we firmly believe that every movie that we review deserves a fair fight. That's why we grade on a curve. Our star ratings are all about context, judging a film on what it achieves with the resources it has.

A 4-star rating for a scrappy indie horror made for $10,000 is a testament to its ingenuity and raw power. A 4-star rating for a $100 million blockbuster means it delivered on its epic promises. We don't compare them side-by-side; we celebrate success in every weight class, from the back-alley brawler to the heavyweight champion. Please keep this in mind when considering star ratings.

Support the Site Knockout Horror is a participant in the Amazon Services LLC Associates Program. Basically, if you click a link to rent or buy a movie, we may earn a tiny commission at no extra cost to you. As an Amazon Associate, I earn from qualifying purchases. This helps keep the lights on and the nightmares coming. Don't worry, we will never recommend a movie purely to generate clicks. If it's bad, we will tell you.

Disclaimer: Images, posters, and video stills used in this review are the property of their respective copyright holders. They are included here for the purposes of commentary, criticism, and review under fair use. Knockout Horror makes no claim of ownership and encourages readers to support the official release of all films discussed.