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.