You are a sensible cookie, Ben Leonberg. How can I negatively evaluation a dog-led haunted home film? Good Boy is a layup for horror followers who adore their canine companions. Leonberg and co-writer Alex Cannon script a love letter to four-legged associates who raise our spirits, love us unconditionally and defend us from something—together with muddy basement entities. Leonberg’s “Doggie Horror Film” is leagues greater than a gimmick, redefining conventional style scopes for one thing applaudably modern.
Leonberg’s real-life canine, Indy, stars as himself in Good Boy. He is a loyal sidekick to Todd (Shane Jensen), a most cancers affected person who relocates into his grandfather’s eerie woodland dwelling (Larry Fessenden lends a veteran presence as pop-pop in outdated movies). Todd’s sister Vera (Arielle Friedman) questions the selection, recalling an unshakable discomfort concerning the remoted spot. Her brother shrugs off the warning, however Indy instantly senses hazard. Indy barks and claws and tries to warn Todd, however will his human perceive?
It is a good idea that can enrapture pet homeowners. Animals appear to acknowledge presences we can not see, yapping into an empty nook or meowing down pitch-black hallways. Leonberg feasts on our paranoias by displaying us Indy’s perspective—and the shadowy determine that inhabits Todd’s new pad. Indy’s untrained as an actor but instructions the display, taking after all-time showdogs like Jumpy (In A Valley of Violence) or Olivia (Widows/Sport Night time). Leonberg and his wife-slash-producer Kari Fischer spent three years working with and training their lovable pooch on Good Boy, translating persistence into an genuine efficiency from one of many yr’s breakout stars.
Cinematography glides throughout the ground at Indy’s top as he reacts with disgruntled huffs or timid whimpers to Todd’s predicaments. All photographs involving Indy had been reportedly captured on closed units, with solely Leonberg and Fischer becoming a member of him in entrance of the digital camera. Indy’s guardian-like adoration of his folks interprets to Todd’s grappling with well being and monsters, however even higher, Indy’s fixated eyes convey authentic emotion. Leonberg turns Indy right into a hero with out sacrificing a haunted horror story’s draw, full with motion beats and legit scares that’ll rattle audiences.
It is resourcefully do-it-yourself however by no means shoddy. Indy’s second-story and doghouse escape stunts are as thrilling as they’re functionally spectacular, workably capturing a jolt of pleasure. Then there’s the shadowy determine that pursues Todd, the bastard towards whom Indy wages battle. As Todd’s situation worsens, Indy takes it upon himself with blazing braveness to defend his grasp—resulting in one-on-one altercations along with his foe. You’d suppose a domesticated but not camera-trained animal may battle to promote the movie’s nastiest horror bites, however you would be unsuitable. Leonberg manages sufficient shadow-jumping creeps to maintain a stressed environment, or makes use of the reflective twinkle in a canine’s eye to lift our adrenaline with an off-screen gotcha.
That mentioned, Good Boy struggles to promote its complete screenplay from begin to end. Todd’s situation, ties to Fessenden’s relative, and the muck-man that retains reappearing include storytelling hiccups. Indy’s efficiency is immaculate, however we’re caught justifying a canine’s place in a heartfelt horror story akin to Mike Flanagan’s Earlier than I Wake (shades of the Canker Man). I am going to reiterate, Good Boy avoids changing into a diminishing gimmick—however ambition can supersede execution. Even at a cool seventy-three minutes, the experiment typically treads water.
Then once more, it doesn’t matter what, there is a canine on display outshining his people. In that regard, Good Boy is a rousing success. It is freaky and unsettling, overtly unconventional, however most significantly, commits to inventive payoffs that you have by no means seen earlier than. Good Boy is greater than a catchy premise or buzzy concept; it is an unique horror gamble that refuses ghoulish conventions. What is the closest comparability, Jason Eisner’s V/H/S/2 section “Slumber Social gathering Alien Abduction?” To say Indy’s debut stands out from the pack is an understatement—it is paving the best way for horror filmmakers to rethink the style’s limitations.
Film Rating: 3.5/5
