An American actor in Tokyo struggling to find purpose lands an unusual gig: working for a Japanese "rental family" agency, playing stand-in roles for strangers. He rediscovers purpose, belonging, and the beauty of human connection.
Posted: February 13, 2026
I’ve always been a fan of Brendan Fraser, especially from films like The Mummy and Journey to the Center of the Earth, so checking out Rental Family felt like an easy decision. While it doesn’t quite reach the same level of blockbuster entertainment as those earlier adventures, I still found myself genuinely enjoying it. I went in completely blind without watching the trailer, and based on the title alone, I expected something closer to Instant Family starring Mark Wahlberg. That assumption turned out to be pretty far off the mark. Although the two films share a similar emotional feel, Rental Family tells a very different kind of story.
The film centers on Phillip Vanderploeg, played by Fraser, an actor living in Japan who hasn’t quite found the success he hoped for. Struggling to land meaningful roles, he accepts a job with an agency called “Rental Family,” a service that hires out individuals to fill personal roles in other people’s lives. The concept is simple but layered with emotional complexity. Phillip might be asked to pose as a husband for a day, a supportive friend, or even just a gaming companion. Two of his more significant assignments involve pretending to be the father of a young girl named Mia to help her gain admission to a school, and posing as a writer documenting the life of an elderly former actor.
What makes the film compelling is how naturally these fake relationships begin to feel real. Phillip starts forming genuine connections with the people he’s hired to “perform” for. While the job is meant to be transactional, emotions clearly don’t operate that way. It becomes increasingly clear that stepping into intimate roles like a father figure carries consequences. When Mia eventually discovers that Phillip isn’t actually her father, the emotional fallout is heartbreaking but not surprising. Anyone could see that kind of revelation coming, especially after a child has formed a bond built on what she believed was truth.
The movie doesn’t rush through these storylines. Instead, it takes its time exploring how prolonged exposure and shared vulnerability can blur the line between acting and authenticity. Phillip finds himself wanting to help these people beyond the boundaries of his assignment, even when that support isn’t requested or technically allowed. It’s human nature. Spend enough time with someone, learn their struggles, share moments together, and eventually the relationship stops feeling like a job. It starts feeling real and that’s exactly what happened in this film.
I’m not deeply familiar with Japanese customs or whether services like this truly exist in the way they’re portrayed, but the premise feels believable within the film’s world. At the same time, it’s impossible not to question how sustainable or ethical some of these arrangements are. Having someone pose as a child’s father without preparing her for the truth seems like a disaster waiting to happen. It’s one of those situations where you can see the emotional wreckage forming long before it hits.
Without diving into spoilers, the film handles these developments thoughtfully. I was expecting Phillip’s role as the father figure to be the main storyline, but I feel that his role as the writer was more dominant towards the end of the film. This wasn’t a bad thing, but I was hoping that there would have been a stronger connection and different outcome between Mia and Phillip. While the movie is marketed as a comedy drama, it leans much more heavily into drama. There are light moments sprinkled throughout, but the humor is subtle and infrequent. The only scene that genuinely made me laugh was early on during a funeral sequence. If you watch it, you’ll know exactly which moment I mean. Beyond that, the tone stays largely grounded and emotional.
Performances across the board are strong. Fraser delivers the portrayal of a man who begins the story somewhat detached and ends up deeply entangled in the lives of others. The supporting cast adds authenticity and warmth, making each relationship feel distinct rather than repetitive. The film is well crafted, emotionally sincere, and patient in its storytelling. In the end, Rental Family is less about pretending to be someone else and more about what happens when the act starts to feel real.
If you’re going in expecting a straight comedy, this probably isn’t the right choice. But if you’re looking for a heartfelt drama with meaningful performances and a unique premise, Rental Family is worth your time. It may not be my favorite film of the year, especially since I tend to lean toward other genres, but I can absolutely understand why it resonates with so many viewers. It has the kind of emotional weight and human depth that often attracts award attention.
One thing to keep in mind is that a significant portion of the film is in Japanese, so subtitles are necessary. While I’m not a huge fan of having to read while watching films, I wasn’t bothered by it at all. There were some scenes though that were in English that had me questioning why some of these Japanese people spoke such perfect English as it’s clearly not their native tongue.
Overall I’d say give it a shot as I’m sure you’ll enjoy this film for what it is. There’s really nothing negative I have to say about it so I will definitely mark this one as approved.
Overall Verdict: If you're a fan of Brendan Fraser, give this one a chance. It may not be an action/adventure film, but the performances and storyline are enough to make it enjoyable.
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