Good Boy Movie Review:

Ben Leonberg's Good Boy is an eerie and immersive horror film with a distinctive visual style that offers a fascinating exploration of canine behaviour and psychology. For most of the film, you follow everything from the point of view of a dog named Indy and barely see the face of his owner, Todd (Shane Jensen), or any other human. This is a deliberate choice to put us into Indy's viewpoint right from the very beginning, making us experience the same horrors that he does. When Indy moves into Todd's cabin in the woods, he starts seeing apparitions and hearing odd noises from the nooks and corners of the house, even as his master goes about his business, not knowing the dangers that may lurk in the shadows. Todd is more interested in watching his grandfather's documentary on a grainy old television set. At one point, Todd's relative tells him to leave the ‘haunted house’. This makes the audience wonder: Is the threat truly external, or does it originate from within the home?

Director: Ben Leonberg

Cast: Indy, Shane Jensen, Larry Fessenden

The brilliance of Leonberg's film lies in keeping us guessing as to whether the dog's experiences are indeed paranormal or whether there is something more real and equally haunting at play. Todd's activity stands in stark contrast to what the dog does throughout the film. Is Todd just a passive victim, a catalyst for the horror, or an unreliable narrator? Todd's indifference strengthens Indy's isolation while making us feel more protective of the dog.

Leonberg's skill in using the camera and the lighting in inventive ways ensures that we take the same horrific journey as Indy, one claustrophobic paw at a time. When Indy goes to some dark corners of the house, you wait with bated breath. And when he experiences haunting and hypnotic visions, the visuals and the silence become unnerving. We know only what the protagonist knows, and even though Leonberg gives subtle hints, there is a primal pleasure to watching a thriller slowly unravel its mysteries.

Filmmakers often argue that the hardest trick in the horror playbook is to make children and animals act. It is hard to remember the last time a dog appeared this expressive on the big screen, especially in a horror film. They say animals, such as dogs, can see things that mortals cannot—a notion that even films tend to apply. Commendably, however, Leonberg resists the tendency to show the usual reactions of a dog when it senses any form of danger. When Indy barks in the film, it only happens on the odd occasion, more out of concern and care for Todd than for his own life. These little moments strengthen Indy and Todd's bond, eschewing the need for any sappy sentimentality to achieve the same. Essentially, this is what makes the film's subversive reversion of a classic cinema trope that much more emotionally resonant.

If Good Boy works, much of the credit also has to go to composer Sam Boase-Miller, as well as cinematographers Wade Grebnoel and Ben Leonberg. The camera movements, framing and lighting all evoke a sense of dread throughout the film. Further, Boase-Miller's music adds to the sombre mood and the macabre tone of the film. Just like how Indy does not bark much, the music director resists the temptation to heighten a particular emotion with some loud sound effect. This restraint makes the odd moments where the film delivers a chilling jolt, such as a hand that comes protruding from behind a character, far more effective than typical jump scares. That said, Good Boy also uses some horror cliches, albeit in fresh ways. At about 70 minutes, it arguably leaves the audience wanting more of the chills and the psychological thrills. Nevertheless, the film also offers intriguing commentary on the inevitability of death and a dog's unwavering loyalty, helping elevate Good Boy from typical genre fare.