News
Review: Dave Franco’s ‘The Rental’ Takes a Trip in the House of Horror
For Dave Franco’s directorial debut, he made the wise choice to make it horror. It’s a genre that offers a lot of flexibility in the details, as long as the film works. Co-written by Franco and Joe Swanberg (V/H/S, Drinking Buddies), The Rental takes some creative chances that mark Franco as a curious new talent to watch for.
The Rental follows Charlie (Dan Stevens, The Guest, Apostle) and his wife Michelle (Alison Brie, Community, Glow), who pair up with Charlie’s brother, Josh (Jeremy Allen White, Shameless), and Josh’s girlfriend/Charlie’s business partner, Mina (Sheila Vand, A Girl Walks Home Alone at Night) to rent a seemingly perfect house for a weekend getaway. But what begins as a festive weekend for the four close friends turns into something far more sinister as secrets they’ve kept from each other are exposed and paranoia grows that they may not be alone.
Visually, The Rental has that muted it’s-fall-at-the-beach aesthetic that hovers a sense of dread over the proceedings. This isn’t a bright, happy, sunny season of fun and adventure, it’s a dreary sense of cold that settles in, even in a warmly lit room. It sets a moody tone that carries throughout the film.
Franco — no stranger to working in front of the camera — pushes the actors by limiting the shot reverse shot framing, opting instead to hold the camera on one character while the dialogue happens around them. The camera doesn’t jump around during group conversations, it often works its way through the room, person by person, while the actors take their time to react to what’s being said. It creates a sense of intimacy that allows you to click in to the characters a bit more, but it also draws attention to the sometimes clunky script.
Though the script isn’t all that complex, it’s Alison Brie as Michelle who really sells it. Franco — who is married to Brie — knows the talent he’s working with here. Brie’s sincerity and deeply likable nature (and her role as the voice of reason) makes Michelle the only character you really care about. When she ducks out of the first night of partying and is left to roll on her own the next day, there’s something so subtle about her performance that beautifully communicates her hurt and frustration while still keeping a smiling face.
As far as “house rental” horror goes, The Rental certainly brings up some worst case scenarios. Hidden cameras and a body count combine to create what must be a really bad trip for poor Michelle. While the dialogue makes a very strong attempt to seem organic, the weight of the situation is real enough that you can connect to the reactions of each character. The script sounds awkward, but you can still get why it works.
Though the plot meanders in one direction for quite some time, things really take off when it shifts gears. I’m trying really hard to avoid spoilers here, but The Rental essentially sets itself up as one thing before flipping to another. It’s a surprise slasher that is never fully explained, which is where the horror genre can be very forgiving; in the genre, things often don’t require explanation in order for them to work.
That said, there are other horror films that have done a similar formula with better execution, but there’s something about the set up that makes The Rental work. We’re dedicated to one thing for so long that the end result feels almost inconsequential, but I actually don’t mind it. It’s a snapshot. It does what few films dare to do — it toys with commitment and dangles questions that aren’t answered. Now, this could certainly be considered a bad thing — and perhaps it is — but in the horror genre, it’s forgivable. We’re allowed to be left with questions. We’re allowed to not get answers.
When the shift comes, Franco leans in to the horror elements to make the climax really take off. It can be surprisingly brutal. It’s hard to say if Franco is a diehard fan of the genre, or if he just wanted to try something different for his directorial debut. He’s checked in to the vast house of horror, but it may just be a short stay. Either way, he’s found his footing as a director with a horror film that looks great and stands strong above many other genre offerings.
The Rental is available in select drive-ins, theatres, and On Demand on July 24th. You can check out the trailer and poster below.
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News
A24 Creating New Action Thriller “Onslaught” From ‘The Guest’ & ‘You’re Next’ Duo
It’s always nice to see a reunion in the world of horror. Following a competitive bidding war, A24 has secured the rights to the new action thriller film Onslaught. Adam Wingard (Godzilla vs. Kong) will be directing the film. He will be joined by his longtime creative partner Simon Barret (You’re Next) as the scriptwriter.
For those unaware, Wingard and Barret made a name for themselves while working together on films such as You’re Next and The Guest. The two creatives are card carrying horror royalty. The pair have worked on films such as V/H/S, Blair Witch, The ABC’s of Death, and A Horrible Way to Die.
An exclusive article of out Deadline gives us the limited information we have on the topic. Although we don’t have much to go on, Deadline does offer the following information.
“Plot details are being kept under wraps but the film is in the vein of Wingard and Barrett’s cult classics like The Guest and You’re Next. Lyrical Media and A24 will co-finance. A24 will handle worldwide releasing. Principal photography will begin in Fall 2024.”
A24 will be producing the film alongside Aaron Ryder and Andrew Swett for Ryder Picture Company, Alexander Black for Lyrical Media, Wingard and Jeremy Platt for Breakaway Civilization, and Simon Barret.
That’s all the information we have at this time. Make sure to check back here for more news and updates.
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News
Director Louis Leterrier Creating New Sci-Fi Horror Film “11817”
According to an article from Deadline, Louis Leterrier (The Dark Crystal: Age of Resistance) is about to shake things up with his new Sci-Fi horror film 11817. Leterrier is set to produce and direct the new Movie. 11817 is penned by the glorious Mathew Robinson (The Invention of Lying).
Rocket Science will be taking the film to Cannes in search of a buyer. While we don’t know much about what the film looks like, Deadline offers the following plot synopsis.
“The film watches as inexplicable forces trap a family of four inside their house indefinitely. As both modern luxuries and life or death essentials begin to run out, the family must learn how to be resourceful to survive and outsmart who — or what — is keeping them trapped…”
“Directing projects where the audience gets behind the characters has always been my focus. However complex, flawed, heroic, we identify with them as we live through their journey,” said Leterrier. “It’s what excites me about 11817‘s wholly original concept and the family at the heart of our story. This is an experience that movie audiences won’t forget.”
Leterrier has made a name for himself in the past for working on beloved franchises. His portfolio includes gems such as Now You See Me, The Incredible Hulk, Clash of The Titans, and The Transporter. He is currently attached to create the final Fast and the Furious film. However, it will be interesting to see what Leterrier can do working with some darker subject material.
That’s all the information we have for you at this time. As always, make sure to check back here for more news and updates.
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Lists
New to Netflix (U.S.) This Month [May 2024]
Another month means fresh additions to Netflix. Although there aren’t many new horror titles this month, there are still some notable movies well worth your time. For instance, you can watch Karen Black try to land a 747 jet in Airport 1979, or Casper Van Dien kill giant insects in Paul Verhoeven’s bloody sci-fi opus Starship Troopers.
We are looking forward to the Jennifer Lopez sci-fi action movie Atlas. But let us know what you are going to watch. And if we have missed something, put it in the comments.
May 1:
Airport
A blizzard, a bomb, and a stowaway help create the perfect storm for the manager of a Midwestern airport and a pilot with a messy personal life.
Airport ’75
When a Boeing 747 loses its pilots in a midair collision, a member of the cabin crew must take control with radio help from a flight instructor.
Airport ’77
A luxury 747 packed with VIPs and priceless art goes down in the Bermuda Triangle after being hijacked by thieves — and time for a rescue is running out.
Jumanji
Two siblings discover an enchanted board game that opens a door to a magical world — and unwittingly release a man who’s been trapped inside for years.
Hellboy
A half-demon paranormal investigator questions his defense of humans when a dismembered sorceress rejoins the living to wreak brutal vengeance.
Starship Troopers
When fire-spitting, brain-sucking bugs attack Earth and obliterate Buenos Aires, an infantry unit heads to the aliens’ planet for a showdown.
May 9
Bodkin
A ragtag crew of podcasters sets out to investigate mysterious disappearances from decades earlier in a charming Irish town with dark, dreadful secrets.
May 15
The Clovehitch Killer
A teenager’s picture-perfect family is torn apart when he uncovers unnerving evidence of a serial killer close to home.
May 16
Upgrade
After a violent mugging leaves him paralyzed, a man receives a computer chip implant that allows him to control his body — and get his revenge.
Monster
After being abducted and taken to a desolate house, a girl sets out to rescue her friend and escape from their malicious kidnapper.
May 24
Atlas
A brilliant counterterrorism analyst with a deep distrust of AI discovers it might be her only hope when a mission to capture a renegade robot goes awry.
Jurassic World: Chaos Theory
The Camp Cretaceous gang come together to unravel a mystery when they discover a global conspiracy that brings danger to dinosaurs — and to themselves.
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