‘Good Boy’ Review: A Canine Lover’s ‘Pan’s Labyrinth’
Good Boy is not your typical horror movie. One might even say it isn’t meant to scare the audience. The purpose behind this innovative film is to depict the fear of things we don’t understand. When something terrible happens, it’s frightening for the average person who understands what is happening. But it’s even more terrifying for someone like a child, who needs more detailed explanations. For example, during 9/11, many parents struggled to explain the events as they unfolded.
The film is told entirely from the perspective of a dog as he grapples with something profound involving his human. The visual elements are frightening, but at its core, there’s something far more metaphorical and emotional at play. The result is a beautifully crafted horror film about a dog’s love for his owner.
What is Good Boy about?
Written by Alex Cannon and Ben Leonberg, and directed by Ben Leonberg, the movie centers on a Nova Scotia Duck Tolling Retriever named Indy, who is extremely devoted to his owner, Todd (Shane Jensen). As the film begins, we mostly see things from Indy’s perspective as he watches over his sleeping owner, while strange noises start creaking through the room. This is followed by Todd waking up and bleeding heavily from the face while still remaining unconscious.
We then cut to Todd and the dog heading out to the middle of nowhere, to an old family house owned by Todd’s grandfather. There’s a concerning conversation between Todd and his sister, Vera (Arielle Friedman), about the medical crisis Todd just experienced, and Vera shares worries about what happened previously in their family. Vera mentions she doesn’t want Todd to end up like their grandfather.
Once Indy and Todd arrive at the old, remote house, they settle into their new environment, taking in the nature and quietness of their surroundings. But before Indy can feel too relaxed, strange activities begin to occur at night. Shadows move in dark corners, and bumping noises come from the stairs. Whatever is happening inside the house seems to affect Todd, causing him to display unusual behaviors as well. Indy becomes worried about any threats to the one he loves most.
A canine lover’s Pan’s Labyrinth
In Guillermo del Toro’s fantasy horror film Pan’s Labyrinth, a young girl escapes into her imagination to understand her world. She’s trapped in a world that’s hard for a child to process, so her imagination helps her find courage. Good Boy works very similarly; instead of a young girl, it features a sweet, wholesome dog trying to make sense of something terrible. The film’s visual language evokes a horror atmosphere, but in reality, it’s how the dog perceives a real-life situation.
Cinematographer Wade Grebnoel uses darkness beautifully in this film. The lighting is excellent, and this is one of the rare movies where shadows and dark corners seem like villains. It’s not just how things are lit, but how certain things stay hidden in the light that creates a unique atmosphere. Indy the dog reacts to various noises and moving dark images in the house, and with the impressive visuals, we share his feelings.
Good Boy has one of the best animal performances ever
Much has been praised about Indy the dog, and rightly so. It’s hard to find much more to say about the performance, as most of what can be said would repeat what many others have already said. The dog is fantastic. And it’s not just because he’s a sweet, loving dog; there’s a genuine performance here that’s nearly heartbreaking. Director Ben Leonberg has mentioned in interviews that Indy’s “thousand-yard stare” makes it easy to insert any required emotion in a given scene. While that might be true, considering this is an animal performance, that stare carries a lot of weight throughout the film.
Indy not only carries the suspense but also shoulders the emotional weight of making the final act feel impactful. When the movie finally reaches that moment, the combination of Leonberg‘s direction and Indy’s impressive, vulnerable performance delivers an emotional punch in the ending. That might be the most surprising aspect of Good Boy for viewers this weekend—that they’re watching a scary story about a haunting and may leave the theater using a kleenex.
Overall, Good Boy is an excellent small horror film. Fans of empathetic horror, like that of Mike Flanagan, will enjoy every minute of the film’s experimental approach. And like a Flanagan movie, come prepared for unsettling dread, but also for an experience that will tug at your heart.
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