Good Boy

If you’ve seen the trailer, you know that Good Boy is a supremely inventive new supernatural horror movie, uniquely told from a dog’s perspective. As you would expect, this effect is achieved through a clever use of reaction shots, observational shots, and genuine performing from the adorable dog in question. It’s certainly an achievement in animal direction – an exciting experiment, and thoroughly watchable. And yet... you can’t help but feel that the film is slightly missing something in the visual department; some extra flourish or stylistic trait which should just seamlessly bring the whole thing together. Nevertheless, if you like dogs (as I do, and there couldn’t really be a more empathetic protagonist) and like horror (as I do), there’s very much a baseline of enjoyment this movie offers to its audience. You’re going to spend time with a cute dog, and there’s going to be a spooky atmosphere – sold.

Whilst there are some very beautiful shots in the film – mostly taking place outdoors in the woods, coloured with this striking blue tinge – what may distract the well-versed cinemagoer is the frequent use of digital manipulation. We have constant artificial zooming in and out, not necessarily revealing more information but, on the surface, making the shot more active. And one can completely understand why the filmmakers opted for this digital style: when filming with animals, you want to get the clearest, widest coverage possible in case of unexpected movement or action. But the result of this is a lack of tactility, a lack of precise cinematography. This is a shame since the lighting is pretty stunning – as is the overall design and tone of the piece.

What’s undeniable about the direction, however, is the fact that this movie does a lot with a little. There’s not actually too much of a plot; more a simple scenario in which the film can operate. In addition to just a single location, two characters and no extravagant budget for insane set-pieces. Taking that into account makes the watchability of this picture all the more of an achievement. But it’s just a shame that it never quite manages to go beyond that and still has that slightly unpolished student-film feel. Not to suggest that it’s incompetently done – far from it; simply that the end-product lacks that secure sense of refinement that you tend to get from a well-tailored theatrical release.

What’s refreshing is that this is a truly fun horror movie. This critic’s fear going in was that the film would have this cruel sensibility, and the dog would suffer. What’s more the case is that Indy is an audience surrogate; a brave explorer who – as the classic Kuleshov effect would concur – provides other shots with emotional power and context. And perhaps the shrewdest decision on the filmmakers’ part was making the film only 72 minutes in length. This is a film designed to be short and sweet. It’s a cutsie little concept explored successfully. And I, for one, can’t wait to see what Indy does next!

GOOD BOY opens in cinemas in the UK & Ireland on 10 October 2025