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THE RENTAL (2020) – HIDDEN FILM GEM ON AMAZON!

AMAZON FILM REVIEW: THE RENTAL (2020)

Directed by: Dave Franco

Screenplay by: Dave Franco, Joe Swanberg

Story by: Dave Franco, Joe Swanberg, Mike Demski

Produced by: Dave Franco, Elizabeth Haggard, Teddy Schwarzman, Ben Stillman, Joe Swanberg, Christopher Storer

Cast: Dan Stevens, Alison Brie, Sheila Vand, Jeremy Allen White, Toby Huss

Cinematography: Christian Sprenger

*** MAY CONTAIN SPOILERS ***


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If you’re old like me you will remember the golden era of video rental stores in the 1980’s and 1990’s. I used to love going to the video shop at the weekend and choosing which films to watch. For example, on a Saturday afternoon at Blockbuster I would choose three films usually. One would be a banker like a high quality release or made by an acclaimed filmmaker whose work I was certain to like. Another would be a more commercial choice like a high concept action film or comedy; something to take the brain out for. Lastly, I would take a gamble on either an arthouse or foreign or indie character-driven film; OR an even bigger gamble on a lower-budget or unheard horror film or thriller with a back-of-the-video-box pitch that grabbed me. Often the latter choice would end up being a terribly arty bore or a schlocky B-movie disaster. However, every now and then I would find a film gem which totally gripped me.

With streaming now there’s not so much of a gamble as you haven’t had to walk or drive to the video shop. Even better there’s no need to return the tapes on time and risk getting fined. You switch on your streaming device and choose your film. If you don’t like it you can turn it off, although I do tend to see things through to the end on most occasions. But hey Paul, enough about comparing the past with the present – WHAT’S YOUR POINT! Oh yes, the Dave Franco directed The Rental (2020) is one of those films which I took a chance on because of the cast and the back-of-video-box-pitch (i.e. the Amazon online trailer). I’m glad I did watch it, as it is a terrific thriller with a tension-filled script which leads and misleads you through a series of compelling twists. It’s a simple premise, involving two couples spending the weekend at a beautiful rural property where poor choices destabilise their harmony, only for all hell to break loose when a serious crime escalates the action.

The cast of Dan Stevens, Alison Brie, Shiela Vand and Jeremy Allen White are arguably punching below their weight where the B-movie material is concerned. Yet, they bring quality to the proceedings as the initial peace between the characters descends into chaos when first infidelity and then murder rears its ugly head. One of my favourite character actors, Toby Huss, is excellent here too as the suspicious property manager. I’ve seen some so-so reviews for The Rental (2020), but it’s the kind of tightly plotted suspense thriller I really thrive on. What starts as an idyllic getaway for two relatively wealthy couples is carefully unravelled by Dave Franco’s well-paced direction, complimented by Brie and Steven’s committed performances, has wonderful locations and a seriously proper killer ending.

Mark: 8 out of 11


STAR WARS: ROGUE ONE – CINEMA REVIEW

STAR WARS: ROGUE ONE – CINEMA REVIEW

**THIS CONTAINS SPOILERS**

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After the biggest budgeted fan film of all time was released last year with The Force Awakens (2015), I approached Rogue One (2016) with a sense of scepticism. After all, JJ Abrams directed Star Wars movie was essentially a block-to-block remake of A New Hope (1977) but this time substituting Luke Skywalker for a young woman, Rey, (Daisy Ridley) and Darth Vader for a younger more angst-ridden version in Adam Driver. Abrams spectacular epic delighted fans on emotional and aesthetic levels despite the sandcastle plotting, gaping story holes and illogical incompetence of the First Order. For example, why build a ‘Death Planet’ with the SAME weaknesses as the Empire’s Death Star?  It did not make sense to me.

Nonetheless, JJ Abrams safety guaranteed reboot broke not only the internet but also box office records worldwide. It’s a safe and impressive spectacle with bland leads and a nostalgic mix of familiar and new characters. The action was breathless and pristine but the weaknesses in the story ruined the enjoyment of The Force Awakens for me. While it made sense to focus the narrative on the children of the original trilogy, and it was great to see Harrison Ford reprising Han Solo, I wasn’t as impressed by Abrams blockbuster as many were. Of course, compared to George Lucas’-rise-and-fall-of-Annakin-Skywalker-prequel-trilogy it was pure cinema gold.

Talking of prequels Rogue One: A Star Wars Story is just that – Star Wars: Episode 3.5 as it were.  The action takes place after Revenge of the Sith (2005) but just before A New Hope.  We open with Ben Mendelsohn’s Orson Krennic pursuing Mads Mikkelsen’s ‘farmer’, Galen Erso, on the planet Lah’mu. Krennic is an Imperial executive working on the Death Star and he requires Erso’s expertise to complete the work so kidnaps him, leaving behind his young daughter Jyn Erso, alone and abandoned.

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As per many other stories in the Star Wars galaxy themes relating to war, family, loss, orphans and hope propels the characters in Rogue One. None more so than Felicity Jones’ grown up Jyn Erso, who inhabits her character with a credible depth and pain throughout. She has clearly had to fend for herself and has become world-weary for one so young, yet she is also tough and very handy in a fight. Against her will she is thrust into the rebellion fight and embarks on a last-ditch mission to locate the plans of the Death Star. Here the story harks back marvellously to the derring-do of WW2 movies such as The Guns of Navarone (1961), Where Eagles Dare (1968) and The Dirty Dozen (1967). That was when I knew this was my kind of movie.

Accompanying Jyn are a ragtag bunch of characters who could arguably been given more backstory but are cast very well. My personal favourite was Donny Yen as Chirrut Imwe as the blind, elegant and formidable ‘monk’ and Diego Luna’s battle-drained rebellion officer who refuses to go down without a fight. With the plot thrusting along at some pace we still have time for reflection by the characters, especially from Luna and Jones. Meanwhile, on the dark side, Ben Mendelsohn gives an intriguing performance as a middle manager unable to grasp the power he so craves.  Darth Vader’s scenes too were fantastically handled in my view and while initially jarring the CGI appearance of Grand Moff Tarkin/Peter Cushing was a curious treat.

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Whereas JJ Abrams skilfully emulated the emotions of the original Star Wars films, Gareth Edwards (and apparently re-shoot director Tony Gilroy) really imbue a sense of menace and doom to the Rogue One mission.  The stakes are incredibly high, and while we know the outcome, most of the characters are given enough purpose to make you care for them. From the stark landscape of the opening scenes to the stunningly bleak midpoint set-piece on the base facility of planet Eadu, pathos, shadow and death inhabit the film’s core. Indeed, it reflects the darker side of the franchise like The Empire Strikes Back (1980) so succinctly.

Of course, the story is all building to an incredible final act where Jyn and her crew seek those darned plans which are inconveniently kept in an impossible-to-breach fortress protected by battalions of Imperial Stormtroopers, droids and weaponry. As our heroes battle for their lives and the future of the rebellion, we cut breathlessly between the space dogfights we have come to love and the explosive conflict on the planet surface. Do they complete their mission? Well, you know the end; however, amidst the fast-paced action and special effects there is time for a sense of loss and a series of spectacular and heroic deaths.

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Where, in my opinion, A Force Awakens was Disney playing it safe, this film takes a few more chances within the corporate conservatism of the movie market. While it has a darkness in its’ heart Rogue One still meets the classic Hollywood “standardization and differentiation” model which has served big business since the dawn of time. Overall this isn’t just a great Star Wars film but a brilliant movie too. It’s very much in the vein of Captain America: Winter Soldier (2014), as it transcends the franchise while delivering a pulsating, heroic and emotional experience. While the canonized Skywalker arcs continue to concentrate on expanding the Jedi family tree, the stand-alone anthology series, of which Rogue One is the first, offer an opportunity to perhaps go darker and experiment with form, character and themes.