Review: ‘The Rental’ (2020), starring Dan Stevens, Alison Brie, Sheila Vand and Jeremy Allen White

July 24, 2020

by Carla Hay

Dan Stevens, Sheila Vand and Jeremy Allen White in “The Rental” (Photo courtesy of IFC Films)

“The Rental”  (2020)

Directed by Dave Franco

Culture Representation: Taking place in Oregon and in California, the horror flick “The Rental” features a predominantly white cast (with one character of Middle Eastern heritage) representing the middle-class.

Culture Clash:  Two couples rent a cliffside vacation home for a weekend and find themselves spied on and stalked by a mysterious stranger.

Culture Audience: “The Rental” will appeal primarily to people who like suspenseful yet formulaic slasher flicks that have better-than-average acting.

Alison Brie in “The Rental” (Photo courtesy of IFC Films)

It might not be a widely known fact, but the 2020 horror film “The Rental” (directed by Dave Franco) has a coincidentally similar plot to the 2019 horror film “The Rental,” directed by Tim Connolly. Both movies are about two men and two women who rent a house for a weekend, only to become targets of a deranged killer. (In Connolly’s “The Rental,” the house is in the mountains, while in Franco’s “The Rental,” the house is perched on a treacherous oceanside cliff.)

Franco’s “The Rental” has gotten more attention than Connolly’s “The Rental” because it’s Franco’s feature-film directorial debut, after he’s spent years as an actor best known for co-starring in movies such as “Neighbors,” “21 Jump Street” and “The Disaster Artist.” Franco isn’t an actor in “The Rental,” but he’s one of the producers, and he co-wrote the screenplay with independent film veteran Joe Swanberg.

“The Rental” doesn’t have an original concept—there have been numerous horror movies about a killer who goes after people in an isolated house—but the movie does have above-average acting talent in its very sparsely populated cast. The actors make the best out of their roles in a movie that starts out as a psychological drama and then ends up being a formulaic horror film.

In Franco’s “The Rental,” a sleek but isolated cliffside home in an unnamed Oregon city has been rented for a weekend so that two couples can celebrate a recent milestone. Ambitious alpha male Charlie (played by Dan Stevens) and his intelligent business partner Mina Mohamnadi (played by Sheila Vand) have just received a great deal of investor money (the movie doesn’t say how much) to fund their start-up company in northern California. (The movie also doesn’t say what is the company’s industry.)

Mina is dating Charlie’s troubled younger brother Josh (played by Jeremy Allen White), while Charlie is married to loving and supportive Michelle (played by Alison Brie, who is married to Franco in real life). They all live far-enough away in California from the rental house in Oregon, that their road trip takes several hours to get there.

The dynamics between these two couples are established early on in the story, so viewers know about the underlying tensions in the relationships. Before they go on their road trip, Charlie and Michelle discuss Mina and Josh’s fairly new romance. It’s not stated in the movie exactly how long Charlie and Michelle have been married, but they’ve been together for about five to eight years, based on conversations that happen later in the film.

In a private conversation in their bedroom, Michelle remarks to Charlie that she can’t believe she’s going on a vacation with Josh. Charlie makes a cynical remark that the relationship between Mina and Josh probably won’t last because Charlie thinks Josh and Mina are a mismatched couple. Michelle is more optimistic and says that Josh seems “motivated” now that he’s been dating Mina, whom she calls “the total package.”

Why is there all of this negativity about Josh? It’s because he’s been struggling to get his life together after being an aimless troublemaker. He got expelled from college for nearly beating a guy to death in front of a frat house, and Josh spent time in prison for this assault. Josh is currently working as a part-time Lyft driver while taking some night classes.

Michelle comments on how Josh’s romance with Mina seems to have changed him for the better: “I’ve never seen him like this. He really loves her. I think it’s sweet.” Charlie replies, “Of course he loves her. He hit the fucking jackpot.” And why does Charlie think Mina is such a great catch?

The opening scene of the film shows Charlie and Mina (who is the CEO of her and Charlie’s start-up company) in their office, looking at house rentals on the same computer. They are on a website that is not named, but it’s clearly a website that is like Airbnb, the popular online company that allows home owners to be their own real-estate agents in deciding which of the website’s registered members will get to rent out their homes. The cliffside house, which is Charlie and Mina’s first choice, is a little of out their price range, but Charlie and Mina decide to reward themselves by splurging on the rental.

Based on their comfortable body language with each other (they’re leaning in to look at the computer closely together) and based on how they’re talking, it would be easy to assume that Charlie and Mina are a couple. Does this mean there’s some sexual tension between Charlie and Mina? Of course there is. And maybe that’s why Charlie thinks Mina is too good for his younger brother Josh, who has a history of being an ill-tempered screw-up.

It seems that Josh is still a bit of a rebel who likes to break rules. When Charlie and Michelle go to pick up Mina and Josh for their road trip, they see that Josh has brought his French bulldog Reggie along for the trip, even though Josh knows that the house’s rental policy clearly states that pets aren’t allowed in the house. Charlie (who’s doing the driving, of course) immediately objects to the dog going on the trip.

However, Josh insists that the dog go with them, and he says that they can hide the dog until after the person handing them the house keys will leave. Because Charlie doesn’t want to waste time arguing about it, he lets Josh have his way, and the dog goes with them on the trip.

During the drive to the rental house, Mina comments that her application to rent the house was rejected, even though she has practically the same qualifications as Charlie, whose application was accepted immediately. She thinks that her Middle Eastern name had something to do with the rejection, but Charlie dismisses the idea.

“The Rental” has some obvious messages about racism, sexism and “white privilege” by showing viewers how Mina and Charlie have very two different perspectives on how they navigate through life, based on how people treat them. Mina is very aware that being a woman of Middle Eastern descent means that bigots will exclude her from opportunities and make negative assumptions about her, while Charlie is more likely to be given opportunities and a positive benefit of the doubt because he’s a white man.

The movie makes it clear that Charlie is someone who doesn’t like to acknowledge that “white privilege” exists, because that would mean admitting that he has an unfair advantage over people of color in many situations where he benefits from people who believe in white supremacy. Someone like Charlie gets uncomfortable thinking that opportunities and accomplishments might have come his way a lot easier than for people of color who are equally or more qualified than he is.

Therefore, when Mina brings up the likelihood that she was discriminated against, Charlie doesn’t really want to hear it. Mina tells everyone in the car that she was rejected for other rental applications too, whereas Charlie was not rejected. Charlie says to Mina that there were probably other reasons why she was rejected.

Mina’s suspicions about the discrimination grow even more when the two couples arrive at the house and meet the caretaker who will hand them the house keys. The caretaker’s name is Taylor (played by Toby Huss), a scruffy, middle-aged guy who mentions that his brother is the house owner who never lives there, but Taylor is the one who looks after the house and oversees the rentals.

When Charlie introduces everyone to Taylor and mentions that Mina is his business partner and is Josh’s girlfriend, the caretaker rudely comments to Mina, “How’d you get mixed up in this family?” When Mina asks Taylor what he means by that, he denies that he meant anything by it.

Mina is bothered by the subtle racism that she seems to have gotten from Taylor, so she tells Josh in a private conversation outside that she doesn’t feel comfortable giving their money to a racist. Josh convinces her that they might as well stay to enjoy their vacation as much as possible, since the rental was paid for already and they already made a long road trip to get there.

Later, Mina confronts Taylor in front of everyone, by asking him why her application was rejected and Charlie’s application was immediately accepted. Taylor looks uncomfortable and says he doesn’t remember her application. Mina then reminds Taylor of her full name, while he looks increasingly uncomfortable. Charlie is starting to look embarrassed, and he tries to diffuse the tension by indicating that he wants Mina to stop this line of questioning.

Mina then tells Taylor that she and Charlie have nearly identical qualifications, but the application from a white man (Charlie) was accepted, and her application was rejected. Taylor still won’t answer the question. Instead, he turns the conversation around and tells Mina that if she has a problem, she can cancel the rental. 

Taylor’s deflection is shady and manipulative, because Taylor knows that the rental is in Charlie’s name, and it’s pretty obvious that Charlie doesn’t want to cancel the rental agreement or cause any arguments with Taylor. Mina also knows that the other people in the group don’t want to cancel the rental agreement, so she has no choice but to let the matter go.

This heated conversation between Mina and Taylor is meant to exemplify how people who try to confront issues of discrimination are often “shut down” and labeled as “difficult” by people trying to divert attention away from the real issues. Meanwhile, people who aren’t directly affected by discrimination, but know about it, often won’t speak up and will act like they want the issue to just go away—as exemplified by how Charlie, Josh and Michelle do nothing to come to Mina’s defense.

Before he leaves the two couples to have the house to themselves, Taylor shows that he’s not only a racist but he’s also a creep when he mentions that there’s a telescope they can use in the house, in case anyone wants to be a Peeping Tom. Taylor says it in a joking manner, but his tone of voice indicates that he’s only half-joking.

After getting settled in, the two couples go for an evening walk on the beach. When they come back to the house that night, they see that someone (presumably Taylor) set up the telescope in the living room while the two couples were away.

Mina immediately expresses discomfort that Taylor can come and goes as he pleases while they’re staying at the house. But the other people in the group act as if she’s being a little too paranoid and “difficult,” so Mina is made to feel once again that she’s in the minority.

“The Rental” is written in such a way that the entire movie can be viewed as a social commentary about peer pressure and how failing to speak up and report problems—for the sake of pretending that everything is okay and going along with a group mentality—can ultimately be dangerous to someone’s well-being. There’s also social commentary about power dynamics and rivalries between men, women and siblings and why people keep certain secrets.

In one scene, Michelle and Josh are having a private conversation while they’re hiking in the woods. It’s revealed in this conversation that Michelle is a lot more insecure about Charlie and Mina’s relationship than she would like to publicly admit. Charlie clearly admires Mina’s intellect and ambition, but Michelle doesn’t have those same qualities, so Michelle feels that Mina is giving Charlie a type of emotional fulfilment that Michelle, as his wife, can’t give.

It’s never stated in the movie if Michelle works outside of her home or not, but it is made clear that she has nothing to do with Charlie’s start-up business and doesn’t help him make any decisions about the company. Michelle’s insecurities are fueled when Josh divulges some information about two of Charlie’s former girlfriends whom Charlie dated before Charlie met Michelle.

The movie also has a not-so-subtle message about invasion of privacy and the type of trust that people willingly hand over to strangers in a house-rental situation that was arranged online. The trust issues go both ways for the renters and the house owners. And when these transactions are done online, where people can write relatively anonymous reviews about their rental experience, there might be a false sense of security that things will be completely safe.

Not long after getting settled in at the rental house, Mina and Josh find a guest house, which has a locked door on a lower-deck level. The door has a key-code lock. What’s behind the door? It’s revealed in the movie whether or not what’s behind the door is relevant to the story.

Meanwhile, some Ecstasy-fueled partying in the house and some hidden surveillance result in a chain of events that bring on the horror. It’s enough to say that the couples in the house are being stalked and spied on, and there is some bloody mayhem that ensues.

“The Rental,” which has a lot of scenes that take place at night, certainly brings the right atmosphere to the movie, as things get more sinister as the story unfolds. The abundance of fog can be explained by the fact that this story takes place mostly in a cliffside house near a treacherous ocean. And the film’s musical score by Danny Bensi and Saunder Jurriaans is a definite asset in the movie’s most effective thrilling scenes.

However, a lot of horror fans might not like that it takes so long (about two-thirds of the movie) for “The Rental” to get to any suspenseful action. Most of the film is really a character study of the increasingly tense relationships between Charlie, Michelle, Mina and Josh. Because the dialogue is realistic, the actors are well-cast, and the acting is better than what’s in an average horror movie, it’s worth the wait to get to the scenes in the movie where the characters are in real danger.

“The Rental” director Franco shows promising talent for telling a good story, but in the end, not much of it is very original. In fact, the least original part of “The Rental” is the murder spree, which has been seen and done in many other horror movies. Although “The Rental’s” characters are engaging and believable (Vand and Brie give the best performances), the action scenes are very formulaic.

People who expect a slasher flick to have the first killing happen within the first 15 minutes of the movie will probably be bored or disappointed by “The Rental.” Anyone who sees this movie has to be willing to sit through a lot of realistic relationship drama before getting to the over-the-top and predictable horror violence.

IFC Films released “The Rental” in select U.S. cinemas, digital and VOD on July 24, 2020.

Review: ‘Horse Girl,’ starring Alison Brie

February 7, 2020

by Carla Hay

Alison Brie in "Horse Girl"
Alison Brie in “Horse Girl” (Photo courtesy of Netflix)

“Horse Girl”

Directed by Jeff Baena

Culture Representation: Taking place in an unnamed U.S. city, the sci-fi drama “Horse Girl” (which has almost nothing to do with horses) has a predominantly white cast of characters representing the middle class.

Culture Clash: When a seemingly normal woman tells people about why strange things are happening to her, they think she’s crazy. 

Culture Audience: “Horse Girl” will appeal primarily who audiences who prefer arthouse sci-fi films, but this movie can’t quite rise above its mediocrity and ultimately disappointing conclusion.

John Reynolds and Alison Brie in “Horse Girl” (Photo by Katrina Marcinowski)

Don’t be fooled by the title of the movie drama “Horse Girl,” because this isn’t a “National Velvet” type of story about a girl and her “best friend” horse who overcome seemingly insurmountable obstacles to win a race. Nor is this a non-sports horse movie about someone with a special talent to communicate with horses, such as “The Horse Whisperer.” In fact, after seeing “Horse Girl,” you might wonder what the word “horse” was doing in the title in the first place. There’s a horse in this movie, but it’s not central to the plot, and the horse is in this 104-minute film for no more than 15 minutes.

So, what is “Horse Girl” about anyway? It’s about a shy, neurotic woman named Sarah (played by Alison Brie, who co-wrote the “Horse Girl” screenplay with director Jeff Baena) who believes she’s discovered something horrible about her life, but everyone around her thinks she’s crazy. When viewers first see Sarah, she’s living a routine and boring life that consists of her working as a sales associate at a local arts-and-crafts store and then coming home at night to watch TV. Her favorite show is a paranormal drama series called “Purgatory,” which features detectives investigating strange crimes that might or might not have to do with vampires and the occult.

She also spends time at a ranch where the people there don’t look too happy to see her. There’s a horse at the ranch named Willow that Sarah is overly attached to, for reasons that are explained later in the story. From the way that Sarah acts around the horse and the teenage girl who gets to ride Willow, it would be easy to assume Sarah is either the owner of the horse or a horse trainer. But things aren’t always what they seem to be with Sarah.

In the film’s opening scene—which almost looks like a parody of the  prissy characters that the Kristen Wiig and Maya Rudolph in “Barb and Star Go to Vista Del Mar”—Sarah and her co-worker Joan (played by Molly Shannon) commiserate over finding out what their heritage is through DNA test kits. Joan raves about getting her DNA test results, as if it’s the most exciting thing to happen to her all year. She urges Sarah to do a DNA test too, and Sarah says that she’ll think about it. Later in the movie, Joan surprises Sarah by giving her a DNA test kit for Sarah’s birthday, and Sarah does the test.

Meanwhile, Sarah’s home life is fairly lonely, even though she has a roommate. Sarah’s pretty and confident roommate Nikki (played by Debby Ryan) is the kind of woman who gives off the aura of someone who was probably a queen-bee cheerleader in high school. Nikki and her boyfriend Brian (played by Jake Picking) spend a lot of time at each other’s place. When they’re over at Nikki and Sarah’s apartment, they rarely spend time with Sarah.

You can tell that Nikki feels sorry for Sarah when Nikki suggests that Brian’s roommate Darren Colt (played by John Reynolds) come over sometime so they could double date. Sarah is reluctant and doesn’t show further enthusiasm about the “double date” idea, until Darren actually comes over with Nikki and Brian. Sarah and Darren feel an instant attraction to each other. And the fact that Darren is the name of the male lead chatacter in “Purgatory” makes it even better for Sarah, who blurts out this information to Darren.

It’s the first clue that something is really “off” with Sarah, but Darren brushes it off and thinks that Sarah is just nervous and awkward. During this house-party get-together, all four loosen up with alcohol, while the guys smoke some marijuana too. Everyone gets very intoxicated, which leads to Darren and Sarah dancing with no inhibitions with each other. After Darren leaves, Sarah vomits in the toilet.

The next day, Darren shows up at the apartment unexpectedly because he forgot to ask Sarah for her phone number. She gives him her number, and they start dating. Sarah gets an occasional nosebleed, but she doesn’t think much about it.

Meanwhile, Sarah goes to a home of a young female friend around her age to visit with her. The woman has difficulty walking, and her speaking skills also sound physically challenged. Who is this mysterious friend?

In a flashback, we see that she used to be a horse-riding pal of Sarah’s until a horrible accident left her impaired. Sarah was riding Willow at the time of the accident. Although it’s never shown or fully explained in the movie, that traumatic incident had something to do with why Sarah no longer owns Willow, but she keeps showing up at the ranch of Willow’s new owners, who can barely tolerate Sarah, since she acts like she’s still responsible for taking care of Willow.

What does that horse have to do with some of the twists and turns in the rest of the story? It’s enough to say that Sarah’s nosebleeds and her habit of sleepwalking have more to do with the story than the horse. Sarah’s sleepwalking starts to become very unsettling when things start happening, such as her stepfather’s car, which he’s let her borrow, ends up being towed because it was found in the middle of a street with a door open and the keys still in the ignition. (Paul Reiser plays Sarah’s stepfather Gary in what is essentially a cameo role.)

Sarah has no memory of driving the car there, and before she found out where the car was, she reported the car stolen. Viewers find out that Sarah’s mother had a history of depression and committed suicide years earlier. Sarah’s maternal grandmother (who looks just like Sarah in photos that are shown) also had a history of mental illness. Did Sarah inherit any of their mental problems? She seems terrified of that possibility.

One thing’s for sure: Sarah has a recurring dream that she’s lying face up in a completely white, clinical-looking room. She’s in the middle of two other people, who are also lying face up, but they appear to be asleep. One is a middle-aged man and the other is a woman who’s around Sarah’s age. Before anything happens next in the dream, Sarah wakes up.

One day, Sarah is shocked to see the man from her dream show up randomly in real life, when she sees him from a distance while she’s at her job. She follows him outside, and sees from the van that he’s driving that he works for a company called Santiguez Plumbing. She goes to his place of work and finds out that his name is Ron (played by John Ortiz), but he doesn’t know who Sarah is when Sarah asks if they’ve ever met before.  He also says he has no memory of having a dream similar to hers.

More strange things keep happening to Sarah. There are long, horizontal scrape marks on her apartment wall that have appeared with no explanation. Sarah also wakes up with mysterious bruises on her body. By this point in the movie, Sarah has gone from a passive, soft-spoken person to almost manic and hysterical when she starts to put together a theory of what’s happening to her. It’s a theory that won’t be revealed in this review (even though it’s revealed in the movie’s trailer), but it takes the story in a direction that’s completely different from how the movie began.

It’s enough to say that Sarah has a very public meltdown, and she ends up getting psychiatric help. She’s assigned to a counselor named Ethan (played by Jay Duplass) who remains sympathetic but highly skeptical, as Sarah explains to him what she thinks is happening to her. (Hint: It involves a conspiracy.) The problem with “Horse Girl” is that even with the sci-fi elements that come into play with this story, where people have to suspend a certain amount of disbelief, there are so many plot holes for Sarah’s conspiracy theory that even if the theory were true, it would be almost impossible for Sarah not to find out about certain actions a lot sooner than she does.

“Horse Girl” director Baena and Brie previously worked together when she co-starred in the 2017 offbeat comedy “The Little Hours,” which was about horny Catholic nuns who act on their lusty desires. That movie gave viewers the anticipation of wondering what’s going to happen next. “Horse Girl” doesn’t have quite the same ability to keep viewers compelled, because of its nonsensical storyline. The first half of “Horse Girl starts off fairly intriguing, but the last half is a lot like a slogging through mud.

Horse fans, you’ve been given fair warning. This movie is definitely not about horses. If you want to watch a conspiracy-theory movie with sci-fi gimmicks that have been done much better in other films, then feel free to waste about 104 minutes of your time to watch “Horse Girl.”

Netflix premiered “Horse Girl” on February 7, 2020.

 

 

Review: ‘Weathering With You,’ an animated romance from Japan

January 15, 2020

by Carla Hay

"Weathering With You"
“Weathering With You” (Photo courtesy of GKIDS)

“Weathering With You”

Directed by Makoto Shinkai

Available in the original Japanese version (with English subtitles) or in a dubbed English-language version.

Culture Representation: This Japanese animated fantasy film takes place primarily in Tokyo, with teenagers as the lead characters and adults as supporting characters.

Culture Clash: In this alternate and supernatural world, underage teenagers who live on their own try to find their identities and independence, while sometimes clashing with adults who might try to control or exploit them.

Culture Audience: “Weathering With You” is a family-friendly film that will appeal mostly to fans of Japanese anime and romantic animated films.

“Weathering With You” (Photo courtesy of GKIDS)

“Weathering With You” is an old-fashioned love story wrapped up in a modern setting with futuristic and sci-fi/supernatural elements. This charming animated movie (written and directed by Makoto Shinkai) was Japan’s official 2019 entry for the Best International Feature Film category for the Academy Awards—and it’s almost the polar opposite from Japan’s 2018 entry: the bleak drama “Shoplifters,” which was about a group of thieves from different generations who live together. Interestingly, both movies do have something in common. The central characters are financially unstable people who are living outside the margins of regular society and who find themselves with a surrogate family.

In “Weathering With You,” viewers first see 16-year-old runaway Hokada Morishima on a ship going to Tokyo, where he wants to escape from his remote island home. While on the ship, and after hearing that a major rainstorm is headed that way, Hokada foolishly goes outside during the storm and almost gets swept overboard. He’s saved by a young man, and as a thank you, Hokada buys dinner for the stranger when they arrive in Tokyo. It’s clear from this scene that Hokada is an impulsive risk-taker, but he also has a kind heart.

Because Hokada is underage and doesn’t have any proper ID, it’s difficult for him to find a job. While figuring out where he’s going to get his next meal, a teenage girl who works at a local café takes pity on him and gives him a free hamburger. Hokada eventually runs out of money, and he ends up homeless and living on the street, where he finds a gun in a paper bag and keeps the weapon. That gun will get him into trouble later in the story. Meanwhile, Tokyo and other parts of Japan are experiencing torrential rainstorms.

As luck would have it, Hokada lands a job interview, based on going to an address of a business card he’s found. It’s a small magazine company run by a mysterious widower in his 30s named Keisuke “Kei” Suga, who works out of his cluttered home with his young female assistant named Natsumi. Keisuke and Natsumi report supernatural news stories, and the latest trends they’re chasing have to do with unusual weather-related events. Hokada is hired on the spot to be an assistant/housekeeper. His salary is very low, but he gets a free place to live and free meals as part of his employment.

Shortly after getting the job, Hokada sees the girl from the café being manhandled on the street by a sleazy local club owner, who’s pressuring her to work for him. (It’s implied in the movie but not said out loud that he owns a strip club.) As the club owner and a henchman try to force the girl into the club, and she resists, Hokada intervenes and is punched in the face by the club owner. Hokada then pulls out the gun and shoots it in the air, giving him and the girl a way to escape.

The girl’s name is Hina Amano, and she says she’s 17 and soon about to turn 18. As a thank you for rescuing her, Hina invites Hokada over to her place and makes him lunch. It’s during their lunch date that they both find out that they have something in common: They are living on their own without parental supervision. Hokada confesses that he ran away from home because he thinks living with his parents is too stifling. Hina lives with her younger brother Nagisa (nicknamed Nagi), and she says that the mother who raised them died about a year ago. (Somehow, Hina and Nagisa, who don’t seem to have any other living relatives, have avoided going into foster care.)

Hina also has another big secret that she reveals to Hokada: She’s a “sunshine girl”—a rare “weather maiden” who has the ability to make it stop raining and bring the sun out, simply by praying. Because Hina has recently quit her job, and Hokada wants to supplement his measly income, they both decide to go into business together by offering her weather-control services to the public. They start a website together, and almost immediately, their business becomes a successes, with Nagisa often tagging along when they go to different locations to fulfill weather-changing requests.

But their success comes at a price: According to folklore, the more a sunshine girl uses her weather-changing abilities, the more her body begins to transform from flesh into spirit, until she is supposed to disappear forever into the spirit world. It couldn’t come at a worse time, since Hokada and Hina are starting to fall in love.

Complicating matters, the police (led by the stern Detective Takei) are on the hunt for Hokada, since his parents have reported him missing, and he was caught on surveillance video using the loaded gun in the street fight where he rescued Hina. Meanwhile, Keisuke (who’s depressed and has a drinking problem) has secrets of his own about his family that end up affecting his relationship with Hokada.

If you’ve seen Studio Ghibli films, then you’ll probably know what to expect for this movie’s animation (from production companies CoMix Wave Films and Story Inc.), which has an unfussy but expressive animation style that’s very similar to Studio Ghibli films. The voices of the “Weathering With You” characters are portrayed by different actors, depending on which version of “Weathering With You” that you see. The original Japanese version (with English subtitles) has Kotaro Daigo as Hokada, Nani Mori as Hina, Shun Oguri as Keisuke, Tsubasa Honda as Natsumi, Sakura Kiryu as Nagisa and Yûki Kaji as Detective Takei. There’s also a U.S. version, with the dialogue dubbed in English, that has Brandon Engman as Hokada, Ashley Boettcher as Hina, Lee Pace as Keisuke, Alison Brie as Natsumi, Emeka Guindo as Nagisa, Riz Ahmed as Detective Takei.

“Weathering With You” won’t be considered a major Oscar-winning Japanese animation classic, such as director Hayao Miyazaki’s “Spirited Away,” but “Weathering With You” is still a better-than-average modern animated film. Although “Weathering With You” includes serious social issues about homelessness and the hazards of messing with the environment, ultimately this is a sweetly sentimental film where the biggest messages are about taking life-changing risks for true love.

GKIDS released “Weathering With You” for special sneak-preview screenings in select U.S. cinemas on January 15 and January 16, 2020. “Weathering With You” arrived in wider release in U.S. cinemas on January 17, 2020. The movie was originally released in Japan in 2019.