Have you ever found yourself gazing at your beloved pet, perhaps as they fixate on an unseen spot in the room, and wondered what hidden realities they might be perceiving? This deeply relatable and somewhat unsettling premise forms the captivating backbone of Good Boy, a horror film that cleverly transforms a universal pet-owner curiosity into a surprisingly effective and genuinely endearing cinematic experience. At its heart, the movie follows Indy, arguably the most adorable and unequivocally brave supernatural detector to grace the silver screen, as he fiercely dedicates himself to protecting his human companion, Todd (portrayed with quiet vulnerability by Shane Jensen), from a malevolent supernatural presence that only he can see.
The film distinguishes itself through its innovative premise and its impressive commitment, for the majority of its runtime, to presenting events through Indy’s unique perspective. We, the audience, are plunged into the unsettling creeping dread not through conventional human reactions, but through Indy’s heightened senses of smell and hearing, and his deeply expressive canine reactions. Indy, a truly phenomenal animal actor, masterfully conveys fear through soft, anxious whimpers and signals escalating danger with sharp, urgent barks, making the burgeoning threat feel intensely visceral and immediate. The directorial choice to consistently frame scenes from his low vantage point, even going so far as to obscure Todd’s face from the audience’s view to maintain the immersive canine lens, is a remarkable artistic touch. This subtle yet powerful technique genuinely draws you deep into Indy’s world, fostering an uncanny sense of empathy and shared vulnerability.
However, despite this admirable dedication to its core concept, Good Boy occasionally strays a few too many times from Indy’s perspective. There are distinct moments when the narrative pulls away to focus on Todd’s human struggles or his seemingly mundane interactions, such as phone calls with his well-meaning yet somewhat overbearing sister, Vera (Arielle Friedman). While these scenes undoubtedly aim to build necessary context for Todd’s predicament and emotional state, they inadvertently break the immersive spell that the film so meticulously crafts. Each instance where the camera shifts away from Indy’s immediate experience, even for a brief moment, serves as an unwelcome reminder that you are, in fact, watching a movie, momentarily pulling you out of the unique, dog’s-eye view of terror. This slight narrative detour, unfortunately, lessens the overall emotional impact of the human characters’ plights, leaving Todd, despite Shane Jensen’s earnest performance, feeling somewhat underdeveloped and more of a narrative cipher by the time the film’s intense emotional climax arrives. The film’s strength lies so heavily in Indy’s point of view that any deviation, even if intended to broaden the story, feels like a missed opportunity to deepen the unique immersive quality.
When Good Boy fully leans into its atmospheric and moody horror, rather than relying on more conventional, jump-scare heavy tactics, it truly shines. The familiar scenario of a dog intently barking at what appears to be nothing, or steadfastly refusing to enter certain dark rooms, becomes genuinely chilling through Indy’s terrified reactions. This plays masterfully on the universal experience of pet owners who have witnessed their animals reacting to unseen presences, tapping into a primal, shared unease. The film’s concise runtime undoubtedly aids in maintaining this heightened tension and keeps the narrative focus tightly on the central mystery and Indy’s escalating fear. It feels like a tightly wound spring, building dread through atmosphere rather than cheap scares.
The plot unfolds as Todd, seeking solace and escape from a recent, traumatic medical event in the city, returns to the dilapidated family home, a structure steeped in generations of his family’s history. His sister, Vera, calls frequently, her concern palpable, but Todd, lost in his own anxieties and perhaps oblivious to the true nature of his new environment, often dismisses her worries. Upon their arrival, the house initially seems to offer a sense of calm. Todd begins working on repairs, and Indy, ever curious, is eager to explore. Yet, it’s not long before unsettling anomalies begin. Indy’s behavior shifts; he starts staring into darkened corners, recoiling from specific rooms, and barking at what Todd perceives as empty air. These are the classic, chilling signs familiar to any pet owner, and Good Boy leverages them to masterful, unnerving effect.
Indy’s portrayal is nothing short of brilliant. His expressive face and body language convey a depth of emotion that often surpasses that of his human counterparts. We even get glimpses into Indy’s dreams, further blurring the line between canine and human understanding of the supernatural. The use of Indy’s sight and smell to inform the audience, such as the consistent avoidance of showing Todd’s face (forcing us to primarily see him through Indy’s perception), adds layers of creative storytelling that enhance the overall experience. The film’s most powerful moments come from witnessing Indy’s valiant, terrified, and unwavering response to the unfolding horror. His fierce loyalty to Todd, even in the face of incomprehensible danger, becomes the film’s emotional anchor.
Despite the limits imposed by its chosen narrative framing and the slightly underdeveloped human element, Good Boy remains a genuinely compelling and thoroughly enjoyable watch. Its action-heavy finale is heart-racing, pulling you to the edge of your seat as Indy confronts the full scope of the supernatural threat. The core emotional connection to Indy is powerful and resonates long after the credits roll. It’s a horror film that manages to be both experimental in its perspective and comfortingly familiar in its genre tropes, striking a unique balance. It may sound peculiar to describe a horror movie as “calming” in some respects, but even with its ghoulish twists and turns, there is a palpable heart at the center of this film that makes it a truly worthwhile watch. It feels like a perfect fit for a movie you’d stumble upon for its unique premise and then discover something far more unexpected and a whole lot of fun.
Good Boy is now playing as part of the Melbourne International Film Festival & Monster Fest.
