I am not the biggest horror movie fan in the world, but some of my fellow writers here at Backseat Directors were meeting up to go back to the theaters and invited me to join them. Having been in quarantine for many months, I couldn’t resist seeing a new movie again on the big screen. So I went and checked out the new movie, The Rental, from actor/director, Dave Franco. While it showed promise for the new director (The Rental being Franco’s directorial debut), the film did not monopolize well on the interesting and fun set-up that it builds making for a frustrating experience.
The Rental has a fantastic cast with Dan Stevens, Alison Brie, Sheila Vand, and Jeremy Allen White playing two couples that decide to celebrate their work accomplishments by renting a fancy house on the Oregon Coast for the weekend. As it begins, the movie sets up a lot of potential conflict between the characters: there may be racism on the part of the landlord, illegal cameras in the home, infidelity amongst the partners, and more. I was honestly excited to see where all these plot threads were going to lead and what was going to happen to our characters. The acting from the main cast is also all excellent; and Franco and cinematographer Christian Sprenger do a good job creating tone and an eerie atmosphere throughout. So for the first hour I was really digging this film.
Unfortunately, none of these plot points paid off well in the end. Without giving away any major spoilers, I wasn’t satisfied with any of the character arcs of the people involved, nor are any new characters brought into the story that are compelling. It basically devolves into a slasher movie in the last fifteen minutes but it is too late in the game and too silly to work—even for slasher-movie fans.
When I left the theater I was proud of myself for going back to the cinemas, (mask on and spaced) but I really wish the movie had been better. It had a lot of potential but didn’t monopolize on much of any of it. There’s even a sidestory with a missing dog and a mysterious door that goes nowhere. The suspense and atmosphere were there, but a film has to pay off well and this one just didn’t.
What do you think of The Rental? Have you been back to theaters? We’d love to hear your stories in the comments.
Recommendation: NO GO
About the AuthorRachel is a Rotten Tomatoes approved film critic that has loved animation since she was a little girl-belting out songs from 'The Little Mermaid'. She reviews as many films as she can each year, and loves interviewing actors, directors, and anyone with an interesting story to tell. Rachel is the founder of the popular Hallmarkies Podcast, and the Rachel's Reviews Podcast and YouTube channel, which covers all things animated including a monthly Talking Disney and Obscure Animation show.
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By Rachel Ogden — 5 months ago
Driving has an uncanny ability to unleash the worst in people. It’s the right combination of high-speed danger, intoxicating power, and an air of anonymity behind closed windows that turns normally reasonable people into foaming lunatics. If I’m Dr. Jekyll in normal life, then I’m Mr. Hyde behind the wheel. All it takes is for someone to not use their blinker, come too close to my lane, or go the speed limit for me to lose my mind or loose my insults. Occasionally, I’ll hear my parents’ voices in my head; first, my mom’s go-to reply to my angry outbursts: “Don’t say that; you don’t know what kind of day they are having.” Then, my dad’s reminder to drive defensively, as if everyone on the road was out to kill me. Both pieces of advice, however irritating, would go a long way towards preventing the events of Unhinged (2020) from happening in real life. The scariest part? To some extent, they already are.
Unhinged tells the story of a traffic encounter between Tom Cooper (Russell Crowe), a man whose troubles have him slowly eroding into murderous apathy, and Rachel Hunter (Caren Pistorius), a single Mom under heavy financial and familial stress. Tom zones out at a traffic light and Rachel honks at him angrily for not going when the light turns green (incidentally I did this on my way to the theater). Then, in the most relatable of awkward situations, the man she just cussed out pulls up alongside her at the next light. Their exchange provokes his wrath to the point where he pursues her the rest of the film. The encounters build in ferocity as Tom terrorizes without restraint and Rachel finds herself a victim of the worst road rage imaginable.
I feel that the movie did a great job of reflecting on the state of our society, exhibited blatantly by behavior in traffic. While it by no means condones or seeks to redeem the violence Tom inflicts on others, Unhinged provokes a frightening question; even if Rachel escapes Tom, how many people like him are out there? How far are we ourselves from becoming unhinged? Regardless of whether Rachel bests Tom or not, the environment that facilitates his rampage still exists, both in the film and outside the theater. My personal interest in this film came largely from the fact that my favorite actor was playing the villain. Though he won a Golden Globe last year for portraying Roger Ailes, he expressed hesitation for this role. Having seen the film, I can understand his concern; Tom is brutal, unrelenting, and out for blood. He doesn’t care if he’s caught, he just wants to cause some damage first. In one scene, he explained his disillusion with life and I totally bought it; though I did not empathize, his attempt at pathos was grounded in the reality of our societal condition without getting too preachy. The movie claims “he can happen to anyone” and supports this thesis outstandingly.
Relatability is what made the movie for me. Situations that are most eating at our characters are every day in nature; finances, divorce, education, health expenses, living with family, and just trying to be on time for things. I almost feel that “stress”, while not as grabby as “unhinged”, is probably more descriptive of the film’s focus. People that encounter Tom and Rachel are for the most part checked out, disconnected, and uncompassionate. Carl Ellsworth penned the screenplays for fantastic thrillers like Disturbia (2007) and Red Eye (2005), and likewise created an effective and believable set-up that carried a well-earned intensity throughout Unhinged. But he is also responsible for three lines of dialogue that I found more annoying than my parents’ backseat driving. They really ruined the seriousness and thrill of this film for me. Other thrillers involving vehicular stalkers like Joy Ride (2001) have a healthy helping of cheesiness that enhances the intensity. For the most part, Unhinged was real and unflinching without any sign of letting off the gas pedal. So when it gets cheesy, it’s as jarring as a fender bender. That, along with an ending that made me feel like I was watching a government-sponsored-ad for safe driving, soured what should have soared.
In spite of my petty complaints, I’ve spent the weekend trying to convince people to come with me to see it again. What better compliment can you give a film? Occasionally timely and ultimately thrilling, I believe Unhinged is worth your time and just as intense as advertised. A rated-R road-rage thriller might not be everyone’s first choice, but if you can stomach the 90-minute ride, you’ll find yourself on the edge of your seat.
Recommendation: Go See It!Post Views: 460
By André Hutchens — 7 months ago
(*Disclaimer: This movie review was originally written on March 12, 2020. My Spy is not screening in theaters, but is available streaming on Amazon Prime.)
Let’s just start out by addressing the elephant in the room: COVID-19. Also know as the Coronavirus, COVID-19 continues to impact societies, peoples, industries and businesses all over the world. Whoever you are that is reading this review, and wherever you find yourself, I wish you well. Stay safe, stay healthy, and be smart about your decisions. Who knows when things will settle back into what we consider “normal?” Hopefully it’s sooner rather than later.
With that said, I want to quickly focus on the current impact COVID-19 is having on the movie industry. James Bond: No Time to Die was the first domino to fall in what is now a long chain of movie release delays. My Spy was set to release March 13 nationwide, until it wasn’t. On March 9, STX Films announced that the movie was going to be pushed back in little more than a month with a new release date of April 17. Compared to recent announcements concerning release delays, My Spy came out fairly unscathed. Whether or not that new April 17 release date will remain unchanged is still to be seen. I’m not predicting anything, but I imagine the studio will stick with this date. There are a lot of moving parts that go into changing movie release dates. It’s a complicated task to delay a movie, so to move it again after an already announced second date seems highly unlikely. The only scenario I could see keeping this movie out of theaters on April 17 is if movie theaters nationwide shut down. I really hope it doesn’t come to that.
Even with the movie delay already certain, Salt Lake City still hosted a screening of My Spy this week. (As long as movie theaters are still letting people inside their doors, you know where to find me). My Spy is the most recent project from Director Peter Segal. Perhaps most known for his iconic 1995 comedy, Tommy Boy (1995), Segal has a long list of well known movies that have both hit and missed for audiences and critics alike. From 50 First Dates (2004) and Anger Management (2003), to Get Smart (2008) and Second Act (2018), Segal’s filmography are all movies you’ve likely seen before, and maybe even enjoy to a certain extent, but just don’t quite capture that memorable quality that really great films often do. And so it is with My Spy.
Every so often in Hollywood, a big, muscly, charismatic action-movie-hero graces us with his presence (and I say “his” because we have yet to get the big, muscly action-movie-heroine of the same caliber as Stallone or Schwarzenegger. I believe that Gina Carano could be the first). And they seem to come in waves. Stallone, then Schwarzenegger and now Dwayne Johnson; physical specimens that have a real commanding presence on screen, but also a very likable way about them no matter which movie they play in. These three actors seem to be in a category all to themselves. That’s not to say there are no other great action-movie-heroes in the business. Bruce Willis, Tom Cruise, Mark Wahlberg, Tom Hardy, Vin Diesel, Wesley Snipes, Jason Statham etc. all fit the bill of a really great action-movie-hero, but when lined up against those aforementioned three, it’s an unfair competition. Now we enter a category of action-movie-heroes that is hard to define. This is the category of actors that are without a doubt, physical specimens themselves, routinely score roles in action movies, but still somehow have not achieved that status of any of the previously mentioned actors. I’m talking Dolph Lundgren, Carl Weathers, John Cena, Dave Bautista etc. Don’t get me wrong…in no way am I attempting to criticize these actors or their careers. I just wonder what kept, or has kept these actors from really breaking out and a making a name for themselves that can rival those of their contemporaries…if you have any ideas, please do share them with me.
To Bautista’s credit, My Spy really seems to be his kind of movie. Not much is asked of Bautista outside of just being himself. There is a natural chemistry between him and Chloe Coleman that helps endear the characters to the audience. My Spy uses the same DNA as the 90’s classic Kindergarten Cop, but emphasizes the relationship between JJ (Dave Bautista) and his smaller counterpart, Sophie (Chloe Coleman), more so than his potential romantic interest in Sophie’s mother (Parisa Fitz-Henley). This is a refreshing take on an already used storyline, and helps to distinguish it from its DNA predecessor.
As likeable as Bautista is in My Spy, it’s Chloe Coleman that steals the spotlight. Starring in her very first feature film, Coleman plays her part like a seasoned actress. I’m always impressed by child actors that display levels of talent on screen that many adult actors fail to achieve. Coleman is no exception. Her character, Sophie, is able to go toe to toe with JJ in wit and bravery, which will keep any of the younger audience members entertained and engaged in the film. Coleman’s acting career seems as if it’s about to take flight, as she is slated to star in a few upcoming films, namely Avatar 2, scheduled to come out in 2021.
Without a doubt, families and children were the intended audience for My Spy. But given its PG-13 rating, and the amount of violence and language that does happen in this movie, I would caution parents to maybe watch the movie first before bringing children, or maybe just check out the review from Common Sense Media, which will detail the content in full.
Overall, I enjoyed My Spy for what it is, and the audience it was intended for. If you’re looking for a fun night out with your family, and this is an option in theaters, maybe wait for a discount movie night or a matinee.
Recommendation: Maybe a MatineePost Views: 1,935
By Parker Johnson — 11 months ago
Sophia Lillis is on her way to become this generation’s “scream queen,” and that is not without merit. When I first saw the teaser trailer for this film I was filled with glee. Another art house horror film like The VVitch? This was gonna be fun! I eagerly awaited the movie and was delighted at the really creepy prologue. The movie proper began and I was instantly reminded of The VVitch. As the movie kept going I just kept getting reminded of that movie, for better and for worse.
Commitment issues: Like The VVitch, this story takes place in the Middle Ages and tries to keep the language and the dialogue within that time frame. However, there are times when the choice of words is very clearly modern, which can take you out of the movie. At one point, a dish falls and breaks on the floor, and the witch literally says “another one bites the dust.” It’s a small quibble though, and I understand that they had to compromise to make this movie more accessible to people.
The prologue’s connection with the rest of the movie: I won’t get into spoilers here… Just a thought about the witch, and how the movie sets up her character. Her character arc takes a turn in the third act that never felt like it paid off. It left me wondering why the story chose to bring up certain aspects of the witch and her background, only to see those aspects go nowhere.
Too many nightmares – not enough development: During the second act of the movie, Gretel has two nightmares that play out in different scenes. Each nightmare last about five minutes. They are fairly terrifying, but I think one nightmare scene would have sufficed; the extra time could have been used to develop the witch’s background more instead of providing us with clumsy exposition near the end of the movie.
The ending: I honestly believe this was the studio’s fault. They tried to have their cake and eat it too. It felt as if they couldn’t decide on how the movie should end, and what message it would give, so they chose to go with both— happily scary ever after? I really wished they would’ve committed to one or the other.
Sophia Lillis and Alice Krige: Gretel and the witch made one of the best parts of this movie. Like I said in the introduction, Sophia Lillis is making her mark on the horror genre, and she’s excelling at it. But it was Alice Krige as the witch that carried the movie. She brings actual depth, and even sympathy, to a role that could’ve just been played as another monster role.
The visuals: Okay. This is where the movie really EXCELS. This isn’t an R-rated film, so it doesn’t rely on blood and gore. It makes incredible use of visual imagery. The movie is shot beautifully, and thankfully, not too dark. The character design is out of this world. They were able to make people and creatures terrifying without much frill. There is a lot of “Halloween costume” potential in the movie.
Fairy tale nods: There are a lot of little nods to other fairy tales cleverly hidden throughout the film—mushrooms from Alice in Wonderland, the ruby slippers from Wizard of Oz, wolves from Little Red Riding Hood; maybe hints of a larger, shared universe, perhaps? It was fun to notice them.
There were a lot of good things about this film: the atmosphere and visuals were excellent, the two main leads were fantastic, most of the script was really interesting—but the final act felt rushed and poorly written. I wished there was just a little more effort put into the character development and screenplay. Ultimately, if you like arthouse horror movies, I would recommend you see this as a matinee, or wait until it is available streaming.
Recommendation: MAYBE A MATINEEPost Views: 440