Reviews
Rental Family
Whenever Brendan Fraser stars in a movie you can guarantee one thing, I will be there, front and center. When the first trailer for his new film Rental Family dropped, it shot straight to the top of my most anticipated releases of the year. Even in those brief two minutes it was clear the film was destined to be a tear jerker, and as someone who is a complete sucker for emotional dramas, my excitement and expectations immediately went through the roof.
Fraser stars as Phillip, an American actor in the heart of Tokyo who is desperately trying to make ends meet and secure future work. He is mainly known for his now infamous toothpaste commercial, its catchy jingle lingering in the minds of many Japanese people in the movie. With hope fading fast and his latest audition slipping away, Phillip turns to Shinji (Takehiro Hira), an intense businessman who offers him a job with his company called Rental Family. The role requires him to become whatever a client requests, from a funeral mourner to a gaming buddy and everything in between, because in Japan you can hire someone to fill almost any emotional or social gap.
Once the early montage of Phillip’s many assignments settles down, the film shifts toward two central storylines. The most familiar from the marketing is his role as a pretend father to Mia (Shannon Mahina Gorman), who hopes to gain entry into a highly selective school where a stable family structure would greatly improve her chances. The other follows Phillip as he plays a fake journalist tasked with interviewing legendary Japanese actor Kikuo (Akira Emoto), whose illness is erasing his memories. Phillip becomes one of the few who can still see how remarkable Kikuo is.
In the first half neither Mia nor Kikuo is particularly won over by Phillip. Relationships take time, and Mia sees him as a man who has been absent for all eleven years of her life. This part of the film feels a little unsteady. Phillip is offered a life changing opportunity but turns it down because of the emotional ties he believes he has formed with his clients. The issue is that we have not spent enough meaningful time with Mia by that point, so the choice feels slightly premature. The emotional groundwork is not quite strong enough for the moment to land with full impact.
The second half, however, is far stronger. As the story unfolds, its central message about loneliness as a quiet but widespread struggle, particularly in Japan, becomes clearer and more powerful. When Phillip is not with clients, we see him spending time with sex workers, not for intimacy but for company, choosing that over sitting alone in his empty Tokyo apartment. It is a detail that will likely resonate with many watching.
What also becomes evident in the later half is how the relationships that once felt underdeveloped begin to grow into something far richer. It is genuinely uplifting to see these connections evolve into bonds that feel natural and earned, so when the emotional moments arrive in the final act, they feel thoroughly deserved. The tears that follow feel honest, and many viewers will recognise pieces of their own relationships reflected on screen. The film may even leave you wanting to hold someone close just a little longer.
For these relationships to work, the performances need to carry significant weight, and Brendan Fraser does exactly that. His career resurgence continues to be incredibly gratifying to watch, particularly when he delivers work of this quality. Shannon Mahina Gorman is equally impressive. In a year filled with strong performances from young actors, she stands out as one of the brightest, matching Fraser effortlessly. Without her emotional depth, the film’s core would not connect nearly as well.
Surrounded by the stunning landscapes of Japan, which the film showcases beautifully, Rental Family also benefits from a gentle and effective score that supports almost every scene without overwhelming it. It complements a story that is ultimately warm, sincere and quietly moving. Although the first half stumbles in places, the second half more than compensates, exceeding even my high expectations and making Rental Family a genuinely worthwhile trip to the cinema for a wide range of audiences.
