A scene from 'Good Boy'

Good Boy review: Curiosity killed the cat… and maybe the dog too?

‘Good Boy’ uniquely chooses to inspect a house’s sinister presence through a golden retriever’s perspective, instantly inspiring fear in dog lovers.

One of the most appealing aspects of genre films is there are no rules. It’s incredibly malleable. It can stretch the imagination for entertainment or knit social commentary into a carefully cultivated narrative. It’s a blank canvas for creativity. Notably, it remains a thriving arena for experimentation and innovation more than a century after the first-ever genre picture screened. It’s not only the types of stories that can differ, but how filmmakers tell them. For example, Good Boy tells a haunting tale from the perspective of a troubled golden retriever.

Following a life-changing diagnosis, Todd (Shane Jensen) decides he and his dog, Indy (himself), need to get away. So, they move to the cabin in the woods Todd inherited from his grandfather. It’s cluttered, the only electricity source is an unreliable generator and the nearest neighbour is on the other side of the woods. Todd’s sister, Vera (Arielle Friedman), hates the idea of him moving there and Indy hates being there. He’s consistently drawn to strange noises in the house and disturbed by unnatural shadows. In addition, since relocating, Todd is acting weird. He’s sicker and meaner, and Indy is at a loss on how to help his best friend – or warn him about what is lurking in the darkness.

Although it was not the first of its kind, The Blair Witch Project’s success spurred the popularity of horror movies shown through the eyes of would-be victims. The camera had long put viewers in the shoes of killers, but now they could experience the terror of not having an omnipotent viewpoint. This film plays on that concept, but escalates the audience’s feelings of helplessness by showing the story from a dog’s perspective. Indy is unable to clearly communicate his anxiety and lacks the situational awareness to know he shouldn’t investigate the curious sounds. Therefore, each time he ventures into a shadowy hallway or darkened room, it puts viewers on edge.

After the first trailer dropped, Google searches for “does the dog die in Good Boy” surged 2,000 per cent. Concern for Indy’s safety creates a powerful connection between audiences and the narrative. In fact, viewers never even see Todd’s face. This drives them closer to the dog since the film’s only human protagonist is inaccessible. As a result, people’s instinctive desire to protect Indy amplifies the impact of otherwise low-key special effects.

Indy is an excellent actor. From curious looks to cautious stances, he appears to convey so much emotion in every scene. In actuality, co-writer and director Ben Leonberg expertly leverages anthropomorphism in his feature debut. He knows audiences will aptly interpret Indy’s whimpers and expressions in support of the narrative with little manipulation. Leonberg also makes the wise decision not to push the concept or his furry performer, limiting the picture to 72 minutes.

Todd’s illness isn’t explicitly disclosed, but it’s probably safe to assume it’s some form of incurable cancer. Thus, the evil lurking in the shadows and tormenting Indy is the nightmarish embodiment of this horrible, invisible thing threatening his friend. It’s an apt metaphor that many people can relate to and a heartbreaking depiction of how an animal may interpret similar situations. Indy truly is a good boy and this is a good horror hook.

Director: Ben Leonberg
Starring: Indy, Shane Jensen and Arielle Friedman

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