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One of Stevenson’s brilliant choices is to set this story in 1990 so that it can clearly be about being online in 2020. It feels like the easy way out on what to do about David, despite all of the script’s previous bold moves.īut “Rent-A-Pal” is transfixing whenever it walks that creative line between this simply being a video tape of unknown origin and it being a radical text-a prerecorded broadcast from one disturbed man with a camera, sent out to others who project their own meaning onto it. What history is behind that sweater vest, the knowing, constant grin, the very drive to make this video? These lingering questions are far more haunting than the destructive choices David later makes, and so the movie’s finale is a bit of a cheesy, gory mess, one that mistakes being audacious with being blunt.
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The creepiest part of “Rent-A-Pal” isn’t David, but Andy. The level of excitement shows such a desperation that isn’t encouraging, but heartbreaking. His reaction after a successful first date with Lisa is to sit in his car and scream “Yes!” to himself a bunch of times, as if finally he has accomplished something.
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Both characters are too clearly written to make them innocent bystanders to David’s toxicity, filling in the roles of “mother” and “girlfriend,” but these scenes always bring the script back to David’s ultimate goal of not being lonely, to show the tragedy with Folkins’ gripping and empathetic performance. And then there’s Lisa ( Amy Rutledge), a woman from the dating service who enters the picture midway through the movie, and makes for slightly whimsical idea of a perfect match for him. The scenes with him taking care of his mother with dementia show that he’s a good guy and a dedicated caretaker, even if he has to constantly brush off the way that his mother calls him by his father’s name, and that living with her has consumed his life.
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The movie is a fight for David’s soul, and it’s essential that while Stevenson takes the story to some strange places, he always believes in David. This scene, as part of Stevenson's excellent script, is an incredible, incisive distillation of the kinship people found in toxic boys clubs. Not only is he memorizing it, he’s being programmed by it, with Andy’s sentiments shown to be stranger and more controlling, but effective. David gets the connection that he wants, and you believe that he achieves this in part by learning the video beat by beat.
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David learns how to interact with it, and Stevenson (working as editor) cuts it like an active conversation, so much that you forget you’re still just watching a guy talk to his TV. The movie takes its time in getting started, setting up David’s small world, but it truly takes off when a bond is built between a man you care about and a comforting figure on-screen. Watching Folkins watch this tape-to see the formation of this relationship-makes for one of the most original and riveting sequences of 2020.
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Sitting in his mother’s basement, with his TV providing the only light, David gets lost. Especially after Andy shares a story about being humiliated by a woman, David is all ears. Andy then bonds with the viewer, and ideas of entitlement, misogyny, and general anger start to flood in with his own monologues, all in the context that this is stuff guys talk about, that they don’t need anybody else. Sitting alone with a cup of whiskey in hand, he answers Andy’s questions about his parents, and about his personal life. Once David gets the sense that he can talk to this person, that the video’s reactions are in sync with what he’s saying, Rent-A-Pal becomes a true connection for him. For human beings that can be all we need-to just feel like we’re being heard-and the tape preys upon that. What’s key is that he cares: he even has a phone next to him that he never uses to call, but instead hangs it up when it rings. Andy asks questions and waits for answers, and follows up with flattering statements (“Nice digs!” he says, while pretending to look around the viewer’s apartment).
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The video is just what it offers: Wheaton’s Andy offers company, and advocates having "a good time" with whoever is watching the tape. At first it’s a novelty to David-as desperate as he may be from the beginning for someone to talk to other than his mother ( Kathleen Brady), whom he lives with-but when the search for a date runs dry, the “Rent-A-Pal” tape sounds like amusing company. Brian Landis Folkins’ genuinely sweet but lonely David comes across “Rent-A-Pal” while trying to find a girlfriend through a video-based dating agency that's like Tinder but for people with VCRs.