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‘Good Boy’ Review: All Bark and No Bite

Published

2 months ago

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Most of us love dogs and horror films, which is why sites like Does the Dog Die? exist. So, the idea of using a dog’s POV to tell a tale of terror sounds like a great idea on paper. However, no matter how hard our canine lead tries, Good Boy runs out of steam pretty early on.

Good Boy: A Promising Premise With a Canine Twist

The film follows Indy, who is a very good boy, and his human, Todd (Shane Jensen). Todd has been diagnosed with cancer and has decided to move into his family’s abandoned farm. We find out his grandfather (Larry Fessenden) used to live there, and the place is haunted. Which makes it the ideal location for a horror movie. As soon as Indy and Todd move in, an unknown entity begins threatening Todd. However, only Indy can sense the danger and must figure out a way to protect himself and his owner from the ensuing danger.

Strengths and Struggles of the Canine Perspective

Writers Alex Cannon and Ben Leonberg clearly understand the beats of a supernatural horror film. Viewers cannot help but root for Indy as we hope he becomes a final dog. We see him getting snatched by dark forces, frightened by the unexplainable, and we are frustrated when his warning barks are ignored. Indy is also a very talented pup who gives an unexpectedly solid performance. However, even with the quick runtime, this idea overstays its welcome. The obscuring of human faces and keeping them in shadow got old fast. We get that this is Indy’s story, and we’re exploring the world through his eyes. However, even with an outstanding lead puppy, it feels like something is missing and borders on becoming a gimmick. It also makes Good Boy feel longer than it is, as we watch faceless forms talk to our lead and wonder if there were better options to convey this feeling.

Narrative Limitations and Missed Opportunities

Too much of the information is conveyed to the audience via phone calls that Todd takes in front of Indy. We also find ourselves limited because a dog can only do so much as an actor. As a genre fan, I love seeing films do something different and don’t want to throw the concept out along with the bathwater. If this were a short, a computer game, or some other medium, then maybe it would work as it is. However, Good Boy needed something more than a beautiful dog and a new POV to be worth a trip to the theater.

A Unique Concept Better Suited as a Short

Much like Steven Soderbergh’s Presence, the film’s biggest draw is the allure of a different POV. That and seeing Fessenden’s name in the cast is why I forced this film into my schedule. Sadly, my takeaway is that it needs more Fessenden and less concept. As a director (and Indy’s real-life human), Leonberg captures his subject beautifully. This is why the film works until it becomes clear we are just hanging out with a dog and some shadows for 72 minutes.

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Sharai is a writer, horror podcaster, freelancer, and recovering theatre kid. She is one-half of the podcast of Nightmare On Fierce Street, one-third of Blerdy Massacre, and co-hosts various other horror podcasts. She has bylines at Dread Central, Fangoria, and Horror Movie Blog. She spends way too much time with her TV while failing to escape the Midwest. You can find her most days on Instagram and Twitter. However, if you do find her, she will try to make you watch some scary stuff.

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‘The Strangers: Chapter 2’ Review: I Am So Confused Right Now

Published

6 hours ago

on

September 26, 2025

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The opening sequence of The Strangers: Chapter 2 is a promising start to what soon becomes a bafflingly bad movie. Since Chapter 1, I had been hopeful that the trilogy would find purpose for itself beyond being a remake. I honestly thought all the claims of Chapter 2’s irredeemable incompetence were just exaggerations meant to appease the algorithmic machine spirits. Let he who has not written an inflammatory article title cast the first stone.

But no. It actually is that bad.

We pick back up with our protagonist Maya (played by Madelaine Petsch) in the hospital, mourning the loss of her boyfriend to a trio of deranged masked killers. Struggling with wounds physically, mentally, and emotionally, she’s soon forced to get back on her feet and keep running after the titular strangers arrive at the hospital she’s recovering in.

Despite the honestly very strong camera work in this environment, the game is given away early. When you realize how long Maya’s been running from room to room, evading an axe-wielding maniac with cartoon logic, you soon understand the dire truth of the film as she escapes from the hospital morgue into the town: Oh good lord, we’re going to do this same thing for the entire movie aren’t we?

Yep, We’re Going to Do This Same Thing for the Entire Movie

If the final reel of The Strangers: Chapter 1 felt like a molasses drip, Chapter 2 in its entirety feels more like having people pour bottles of maple syrup out onto your face for 90 minutes. Something is technically happening, yes, but it’s the same thing over and over, slowly, and surprisingly very little happens in the grand scheme of things.

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Maya runs, then walks, then trudges aimlessly as she flees her attackers, occasionally getting a hit in on them, and then flickering in and out of consciousness. Every character that could give some good insight disappears or dies before they can speak. The ones who do speak are all equal levels of ominous, hinting at the very obvious twist we’re approaching in the third film, that there are way more than three killers and that the rest of the town is in on it.

Large swathes of the runtime are dedicated to watching Maya struggle to do simple things in the wake of her injuries. There’s no mean-spirited nature or message to punctuate the suffering parade she marches on in; she is effectively just fast travelling from set piece to set piece via CTE and blood loss induced teleportation. And while that sentence may be very funny in the abstract, it gets very old very fast.

What Is Actually Going On, I Am So Confused

It’s in these set pieces where the most confusing choices of Chapter 2 abound. We get flashbacks of the Pin-Up Girl killer as a young child, explaining the origin of the Strangers ding-dong-ditching antics. The scenes are just as corny as you’d expect, pockmarked by nonsensical explanations and connections back to the main plot; this is ignoring the fact that it tries to give sense to what are supposed to, at their core, be senseless crimes. It’s like, the whole ethos of the series. There is no point.

The nonsense of it all comes to a crescendo around the midpoint, when the strangers eventually lose track of Maya, and decide there’s only one course of action to get her: release a tactical boar into the woods to hunt her down like a heat-seeking hog missile. What results is a scene so ridiculous that it’s only topped by the shonen anime style flashback Pin-Up Girl has to honor the boar’s demise, fondly remembering how she got the pig in the first place before weaponizing it into a one-ton murder beast.

None of this is a joke in any way, shape, or form. I am still genuinely confused as to how this was all just allowed to happen.

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The Strangers: Chapter 2 Brings Technical Faux Pas on So Many Levels

Terrible story aside, it’s not like the film is saved on a technical level either. It’s largely lit like an IKEA commercial and shot in some locations, just like one too. The soundtrack is middling at best. The actual action is often shot shakily and edited in a manner so frantic that it would make early-2000s found footage blush with its visual instability.

The best I can say is that the practical effects to detail Maya’s wounds and subsequent sutures are great, but even then a finger curls on the monkeys’ paw as a trade; the film matches that with CGI blood at multiple points, blood that is so clumsily textured and layered on fabric that it made me nostalgic for the 2010s YouTube sketch videos they reminded me of.

Petsch’s performance is on par with her previous appearance in Chapter 1, still solid character work here, barring some cheesy moments that are like potholes in the road of the script. But when you’re fighting against a director who isn’t directing you in any meaningful way, and a script that doesn’t give you anything to work with, it really feels like she’s been left to spin her wheels. They don’t even let her act opposite Richard Brake for more than one scene, who spends most of the movie sitting in a diner drinking sweet tea with another officer. If anything is criminal here, it’s that. You don’t put Richard Brake in a corner!

Abandon All Hope for The Strangers: Chapter 3

For a film about masked killers, Chapter 2 is awfully mask-off about what it is— just the slow, low middle point in a nearly 5-hour movie that’s been cut into thirds. It’s a meandering stroll through some really alien choices in storytelling that ultimately feels hollow. It’s eerily reminiscent of the 2015 Martyrs remake, since that was also a complete trainwreck that didn’t understand what made its source material tick.

The Strangers: Chapter 2 is a trite hellbilly slasher at points, a played-out character study of its killers at others, and a limp thriller throughout where anyone can be the killer, and where ultimately, it doesn’t really matter who the killer is. While I wish I could say it’s insane failures in filmmaking will find itself a cult audience that loves bad horror, I don’t know if I fully believe that either. It lacks the heart necessary to be a cult classic. Whatever it is, it doesn’t bode well for whatever can of worms its finale has in store.

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[Review] Fantastic Fest 2025: ‘V/H/S/Halloween’ The Most Fun the Franchise Has Had in Years

Published

23 hours ago

on

September 25, 2025

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In my review of V/H/S/Beyond out of Fantastic Fest 2024, I described anthology horror as a box of chocolates (okay, Forrest Gump). It seems fitting to expand on that hackneyed metaphor for the latest installment in the long-running found footage franchise, V/H/S/Halloween, which celebrated its world premiere at this year’s festival. If most anthologies are a box of chocolates, V/H/S/Halloween is a trick-or-treat pail stuffed with mystery candy, some from familiar faces, others from creepy neighbors you barely know.
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There might be a razor blade hidden in its sugary depths, but damn if that’s going to stop me from plunging my hand back in for another bite.

Aspartame Is the Least of Your Worries with “Diet Phantasma”

V/H/S/Halloween is made up of five segments and the obligatory wraparound story. There are a few entries that harken back to the franchise’s darker beginnings, but the tone this time around is overwhelmingly kooky, befitting of the seasonal theme.
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This is established from the first appearance of the frame narrative, “Diet Phantasma.” From Scottish director Bryan M. Ferguson, best known for creating music videos for artists like Boy Harsher, “Diet Phantasma” is presented as internal documentation from a corporation attempting to perfect its new soda in time for a Halloween rollout. Unfortunately for the unsuspecting focus group, drinking the soda causes a few… side effects. Cue heads exploding and tentacles bursting from cans, all while the staff watching from behind the glass glance at the camera like they’re in The Office.
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The V/H/S franchise has always struggled with its frame narratives, leading it to largely ditch any attempt to tie its segments together cohesively in later entries. While it does feel like the films have lost part of their identity as a result, “Diet Phantasma” serves as a welcome palate cleanser between the self-contained segments. It’s always a delight to revisit, and Ferguson turns up the dial on the madness every time we cut back, punctuated by the always-amusing punchline of the “For Internal Use Only” memo flashing up on screen. If Shudder doesn’t sell a promotional can around the film’s release, they’re really missing a trick.

There’s No Need to Only Take One from This Candy Bucket

After whetting the audience’s appetite with its frame narrative, V/H/S/Halloween unwraps its first treat-size candy bar: “Coochie Coochie Coo” from Anna Zlokovic, director of Hulu’s Appendage. With shades of Hansel and Gretel if it took place in the universe of Barbarian, the segment introduces us to two teens on the cusp of leaving for college who decide to have one last Halloween hurrah. Dressed as babies, they wreak a little gentle havoc trick-or-treating in their neighborhood before finding themselves drawn to an impossibly alluring house that all the other kids seem to be skipping. Of course, “Coochie Coochie Coo” quickly reveals this to be a house of horrors with something more disturbing (and disgusting) lurking around every corner.
It’s a stellar start, anchored by leads who are unusually likable for a story like this and some great gross-out effects, while also introducing a theme that will crop up repeatedly in the film: if you fuck around with the unofficial rules of Halloween, you’d better be prepared to find out.

Unpacking “Ut Supra Sic Infra”​

Zlokovic’s segment is followed by “Ut Supra Sic Infra” from [REC] director Paco Plaza. A bunch of teens died horribly on Halloween night after breaking into the house of an infamous medium, and the police are grilling the only survivor to understand what happened—and why the bodies have no eyes. Plaza cuts back and forth between material recovered from the teens’ phones and present-day police cam footage, breaking the immediacy and immersion of the subgenre more than a little, but the conclusion he’s building to will make you forgive any found footage sins.
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Speaking of the conventions of the subgenre, V/H/S/Halloween’s middle segment, “Fun Size,” pokes fun at them right off the bat by having two of its leads dressed as characters in a found footage horror movie, complete with cameras strapped to their faces. They’re out trick-or-treating with another couple, but the specter of an unwanted engagement is dampening the mood. Things take a turn for the weird when they discover a bowl of unusual candy outside a house, but when one of the guys disobeys the order to only “take one,” they discover exactly how the sausage gets made.
From Casper Kelly, co-creator of the hilarious Your Pretty Face Is Going to Hell, “Fun Size” does everything you could possibly want it to do and more, introducing bizarre mascots, a killer conveyor belt, and more, all brought to candy-colored life through some impressively silly practical effects.

But Does V/H/S/Halloween Deliver On the Horror?​

In fact, “Fun Size” is so much fun that the penultimate segment, Alex Ross Perry’s “Kidprint,” suffers slightly as a result. Sandwiched between two campy stories and equally unhinged wraparound interludes, “Kidprint” stands out starkly for its unflinching portrayal of true evil. The story concerns a company that makes videos of children in case they go missing. It’s almost Halloween and a lot of parents are understandably concerned about letting their kids go out after a spate of disappearances. Perry draws performances out of his young actors that feel uncomfortably real, giving the segment a gritty, snuff-like quality that we haven’t seen in the franchise for some time. It’s good, dark stuff, but the tonal whiplash will leave the taste of blood in your mouth.
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Closing out V/H/S/Halloween is “Home Haunt” from Micheline Pitt-Norman & R.H. Norman. Centering on a dad desperately trying to reignite the passion as his son grows up and loses interest in the elaborate haunted houses they build together every year, “Home Haunt” feels the most classically Halloween of the bunch, filled to the brim with nostalgic imagery. That nostalgia is what gives the segment its heart: how many of us wish we could go back to the simpler Halloweens of days gone by, when it was still magical for our kids, or when we were kids ourselves?
But this is far from a melancholy story, and the fun begins in earnest when a cursed LP brings the haunt to life, slaying everyone in sight, including SFX legend Rick Baker in a pitch-perfect comedic cameo. If this segment is anything to go by, the directors’ upcoming feature, body horror flick Cosmetic, should be on everyone’s radar.

V/H/S/Halloween Is All Treats, with a Few Tricks up Its Sleeve

I’m conscious of how many times I’ve used the word “fun” already in this review, but it’s really the operative word to describe V/H/S/Halloween, a film that will make you wonder why it took the franchise so long to get to this theme—and what other holidays it could and perhaps should tackle next.
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There’s truly something for everyone in entry, some sweet, some sour, but all immensely satisfying. It might rot your teeth, but V/H/S/Halloween is proof that this is one annual tradition that deserves to be revisited year after year. V/H/S/Halloween will be available to stream on Shudder starting October 3rd.
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