Two couples on an oceanside getaway grow suspicious that the host of their seemingly perfect rental house may be spying on them. Before long, what should have been a celebratory weekend trip turns into something far more sinister. A film by Dave Franco, starring Dan Stevens, Alison Brie, Sheila Vand, Jeremy Allen White, Toby Huss, and Anthony Molinari.

Charlie (Dan Stevens), a company owner who works alongside his longtime business partner Mina (Sheila Vand), plans a weekend getaway at a remote house on the Oregon Coast. He invites his wife Michelle (Alison Brie), his younger brother Josh (Jeremy Allen White), and Mina, who is currently dating Josh, to join them for the celebration.

During the trip, Mina reveals that she had tried to book the same house through an app before Charlie, but her reservation was denied. Meanwhile, Charlie, who is white, had his booking accepted almost immediately. She suspects the owner might be racist, which makes her uncomfortable about staying at the house.

When they arrive at the rental house, they meet Taylor (Toby Huss), the caretaker and brother of the property owner. Mina confronts him directly, asking if he was the one who rejected her booking. He dismissively responds that many people try to book the house, and he can’t remember everyone he turns down. Mina then points out that after rejecting her booking, he accepted Charlie’s reservation – a white person who had requested to book just an hour after her. When pressed about his reasons for denying her reservation, Taylor becomes visibly annoyed and tells them that if they’re unhappy about staying there, they can cancel according to the terms listed on the website.

Although Mina is upset, she can’t convince the others to find different accommodations since they’ve all traveled so far, forcing her to reluctantly stay. Later that night, Michelle excuses herself to bed early, planning to prepare for a morning hike the next day, while Josh passes out from drinking. Charlie and Mina end up staying up late talking, and under the influence of alcohol and drugs, they give in to temptation and secretly have an intimate encounter.

The next day, Mina discovers something unsettling while taking a shower. She asks Charlie to investigate, and they find a hidden camera in the showerhead, leaving them both shocked and horrified. Mina is convinced that Taylor, the caretaker, is responsible and wants to report it to the police. However, Charlie disagrees, knowing that if they involve the police, Josh and Michelle would inevitably discover their intimate encounter from the previous night through the recorded footage. This forces them to keep the disturbing discovery a secret.

American actor Dave Franco makes his directorial debut with THE RENTAL, working from a screenplay he co-wrote with Joe Swanberg. While this thriller starts with a promising premise, it ultimately fails to deliver either a satisfying conclusion or surprising plot twists.

I really like the film’s cinematography, particularly its thoughtful use of perspective, lighting, and artistic composition. The visual style effectively creates a moody atmosphere typical of slow-burn thrillers that prioritize tension. The storytelling gradually builds suspense and emotional investment rather than relying on jump scares.

It’s disappointing that the plot is somewhat predictable. From the opening scene showing Charlie and Mina together, viewers are led to assume they’re a couple, before it’s later revealed they’re just business partners who each have their own relationships. However, this initial framing already suggests that there must be something more than just a professional partnership between them.

The portrayal of Taylor as potentially racist and villainous is handled with some realism. However, the introduction of a different antagonist for the plot twist at the ending actually weakens the story. I can’t understand or connect with this villain’s motivations since they have no meaningful connection to any of the main characters throughout the film.

THE RENTAL had a limited theatrical release in the United States on 24 July 2020. The film was simultaneously made available on VOD on the same day.