This review contains spoilers.
The latest indie horror film to hit theaters doesn’t star the usual scream queens you might expect. Forget the Samara Weavings and Jenna Ortegas of the world and welcome the star of “Good Boy”: A magnetic Nova Scotia Duck Tolling Retriever.
In his feature debut, director Ben Leonberg casts himself and his very own pup, Indy, as new residents of their late grandfather’s alleged haunted house. Released on Oct. 3, “Good Boy” follows Indy’s ever-curious nose as he explores the shadows and sounds that lurk in the night.
Shot over the course of three years with a crew of just Leonberg, his wife Kari Fischer and Indy, the final product is a feat of patience and craft. With over 400 days of filming, this was surely not a facile shoot — yet Leonberg and Fischer successfully captured a range of emotion from Indy that registers as genuine performance, double takes and all, rather than tricks on command.
Seriously, from tiny whines and whimpers, to lonely cries and barks, Indy puts on an acting masterclass. Leonberg and Fischer’s efforts to capture the panicked jolts of fear, the held stares and the adorable worried looks contribute to a nuanced construction of emotion that grounds the entire film.
Although almost entirely shot in a single house, the camerawork feels grand in scale. With daunting wide-angle staircase frames, numerous close-ups and Indy POV shots — The audience is immediately immersed in Indy’s umwelt world. This immersion, combined with the dimly lit house and Indy’s inquisitive nature, catalyzes the film’s tension.
While the film is not particularly scary aside from a couple mild jump scares, it builds an eerily dreadful atmosphere through its score, sound design and camerawork, steadily intensifying toward the surprisingly bleak climax. After spending over an hour in Indy’s shoes, the supernatural confrontation in the film’s last ten minutes is soul-shattering to any dog owner.
Let me make one thing unmistakably clear, though: “Good Boy” is merciless to your emotions, not to the dog. By the end of the film, Indy walks out physically unscathed; the audience, however, is left with a long, bittersweet exhale and a ride home anxiously awaiting their own dog’s welcoming frenzy as soon as the key turns the front door open.
“Good Boy” is admittedly not the most enthralling film of the year, but for what it sets out to be, it is absolutely worth your time. It might not be the jump-scare-packed, fast-paced crowd-pleaser that most look for with horror releases, but it is an inventive, low-budget passion project whose final shot lands with a heartfelt, poignant beauty — leaving me with a wistful half-smile and an image that will not leave my mind.
If anything, “Good Boy” is a testament to the limitless bounds of ingenuity and a brilliant exercise in creative freedom. I applaud Leonberg and Fischer for their commitment to capturing Indy in all his silver screen glory.
My advice? Temper your expectations: “Good Boy” is minimalist and self-contained, not chasing franchise-size stakes or scares. It rewards patience and heart. If you check this one out in theaters, be sure to stay after the credits to get a behind the scenes look at Indy in action!
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