If he hadn’t had his career derailed by a series of mishaps and downright evil, Brendan Fraser would be alongside Tom Hanks in terms of being the modern equivalent of a Golden Age actor like Jimmy Stewart or Henry Fonda. The difference between the two is that I will go see a movie just because Brendan Fraser is in it, which is not at all true of Hanks.

The excesses of The Whale aside—and its director, Darren Aronofsky, whom Ken Russell calls from the grave to say “Settle down”—Fraser was terrific. A well-earned Oscar.

This is probably a double-edged sword in that we probably permit a character played by Fraser to get away with things he really shouldn’t. In fact, despite the very strong marks for Rental Family, all I could see as the movie started rolling, was all the many, many ways this movie could go bad.

Fraser plays Phillip Vandarploeg, an American who moved to Japan seven years prior after becoming a sensation as the star of a toothpaste commercial, has fallen on hard times when he’s called by his agent to play—well, I’m not going to say what, exactly, because while this movie doesn’t have really big twists or surprises, the ones it does have shouldn’t be spoiled. Despite not doing very well at the gig (because he’s completely unprepared) he’s approached by Shinji, the owner of a company called Rental Family. They need a token American.

Philip is obviously used to this, although I can’t help but note that he’s not a token at all.

You see, the business that Shinji has is that he supplies people to act out parts in other people’s lives for various reasons. One of their most popular jobs is euphemistically called “Apology Services”, where a woman (Aiko, played by Mari Yamamoto) pretends to be a man’s mistress and apologizes to his wife for having an affair.

This is the important thing about this job: He’s lying to someone, and he has considerable issue doing so. The first job he has seems relatively harmless. And he has a kind of nice one where he plays video games and acts friendly toward a shut-in. But the first big job he gets is pretending be a girl’s father.

The girl’s mother is trying to get her into an elite private school, and the school isn’t interested in single mothers. The mom doesn’t want to force the child to have to lie, so instead has Philip pretend to be her father to her.

This, and another job, where Philip pretends to be a journalist interviewing an old, forgotten actor (played by Akira Emoto, who has over 700 credits to his name) are the ones where you can see the train wreck coming. As light a touch as the movie has, you just wanna yell “Don’t do it! You’re not cut out for this, Brendan Fraser!”

Because there are two main ways you can go with a story like this, right? You can pull a Rain Man and have your Tom Cruise character be a semi-sociopath/narcissist who learns a little something about being human.

But Philip is alone in Japan. He has no family. The only people we see him interact with are his agent (on the phone) and a prostitute. Professional relationships, in other words.

You know, immediately, that Philip is going to end up caring too much, and possibly caring in ways that are culturally inappropriate.

The director (the mononymic Hikari) handles this with a deft touch: Very light, very Japanese, able to clearly communicate the issues that arise from arrangements like these without being moralizing or heavy-handed. This might not be “true” on some level, I wouldn’t know. But it makes for a pleasant and emotional experience that still manages to avoid being mawkish.

Seriously, I look more for (and celebrate) movies avoiding pitfalls these days than achieving high aesthetic points. This does both. The cinematography of Japan is perfect in that sense: It shows lovely shots of Tokyo and the countryside—but it isn’t a fairy tale like (e.g.) Amélie. The wonderfully scrubbed and saturated views of France worked perfectly for that film: This one looks like a Tokyo you could actually go visit.

Terrific acting. Good story structure. Strong ending. Highlighting the issues with these arrangements but still managing to pull out a happy ending.

It’s an increasingly rare “general recommendation”. If you like movies about people with humor and drama, the only negative (for the average moviegoer) is the use of subtitles. I would argue the film excels at that, too, though because there are just enough subtitles to make you remember where you are. There are a lot of excellent touches that enhance the fish-out-of-water feel, like Fraser being 6’3″ and having a pot-belly. (Although Takehiro Hira is six-feet tall, Fraser is always bigger and taller and paler than everyone else.)

It probably won’t get a lot of award nominations, but it should.

Oh, there is a theoretical negative that filled me with dread: The idea that somebody would remake this movie, but base it in America, and have it star, I dunno, Kevin James and Adam Sandler. Or Vince Vaugh and Chris Pratt.

One of the best movies of the year and a rare mix of award and box office bait. You know, what used to just be known as “a good movie”. And one of three in 2025 I would recommend for general audiences—which, honestly, is two or three more than I’m able to recommend in the past few years. The other two are Mission: Impossible 8 – The Final Reckoning and The Naked Gun reboot.

Destined to be crushed by Wicked, Zootopia and Five Nights at Freddy 2, and to under-perform Bugonia, Heart Eyes, Chainsaw Man, the re-release of Wicked—all of which serve as a challenge of my ability to estimate what “general audiences” will go for.