Written by: Siddhartha Krishnan | 5 Min Read

Good Boy (2025) runs on a slender plot, and on an emotional theme that is deceptively simple. But what it delivers both visually and technically is something the makers can genuinely be proud of.

Written and directed by Ben Leonberg, in his feature debut, and featuring his own dog as the protagonist, Good Boy follows Todd, a young man with a chronic lung disease, who moves from New York to his late grandfather’s isolated house in the woods. His sister Vera believes the place is haunted, and could even have played a part in their grandfather’s death. Todd disagrees. For him, the wilderness is sanctuary. His dog Indy though senses something darker, a presence Todd cannot see. What follows is a battle of instinct versus ignorance. Will Indy keep his master safe, or will both be consumed by something hiding in the shadows?

Leonberg got the spark for this film while rewatching Poltergeist (1982), specifically a scene involving a dog. As a lifelong horror fan, having consumed every conceivable sub-genre, I can say with conviction that there is nothing left in horror that is truly new. Innovation now lies in how familiar tropes are reimagined, in how writing and craft can twist the known into the uncanny.

Good Boy is that kind of horror.

Writers Alex Cannon and Ben Leonberg are smart with their writing. They find ways to keep the audience guessing, even with a deceptively thin storyline. One criticism the film has received is that it is too convoluted. I see that as a strength. The writers play with the viewer’s mind. It is entirely possible to have multiple interpretations of the scenes that unfold, especially the slightly bizarre ending that leaves you with many questions. Despite its narrative limitations, Good Boy challenges you as a viewer. The real genius is in showing everything from the dog’s point of view. It makes the scenes tense, emotionally charged, and keeps you uncertain because you are never fully sure what is happening inside Indy’s mind.

The film’s editing is one of it’s strong points. The interplay of past and present, the use of dream-like sequences before snapping back into present reality, is impactful. It adds to the intrigue. There is also a clever rhythm in the cutting. Quick jump cuts are broken by long pauses and silences. This creates mood, dread, and a constant expectation of something evil about to reveal itself.

Just like the editing, the cinematography does not follow a single pattern. For most of its seventy-three-minute runtime, the camera is focused on Indy’s face. It is the need of the script. The camera follows him wherever he goes. The angles are fluid, constantly shifting to capture his expressions and the subtle changes in his behaviour. The action on screen demands that the camera be quick and kinetic in some moments, and completely still in others.

None of this feels like the work of a first time director. There is a visible sense of craft and confidence in how frames are composed. The static shots are haunting and atmospheric. When the camera moves, it injects energy and adrenaline. There are a few sharp jump scares as well, which add to the film’s thrill.

From a technical standpoint, I believe the editing, the sound design and the camerawork elevate Good Boy beyond its limited story. They give the film its power.

But all said and done, the true star of the film is the dog, Indy. It is through his eyes that the entire story is told. The writing and the technical craft would not have saved this film if the performance had failed at this level. As an audience, you are glued to his face. He has the most expressive eyes and a deeply innocent presence. You start rooting for him. You fear for him. You are fully invested in his journey. Although it looks effortless on screen, there is clearly a lot of preparation behind this. The training, the timing, the precision of camera placement, all of it has been done with care.

IndieWire says this about the canine’s performance: “one of the most emotive actors of his generation, regardless of species.” I agree. I cannot remember another dog performance that has left me this stunned. Dog films usually make you laugh or cry or feel a sense of warmth. They often carry messages of loyalty, companionship or healing. But here, I was engaged because of the dog’s sheer emotional pull. I could not take my eyes off him. That is the magic of this film.

Made on a modest budget of $750000, Good Boy, went onto gross $8M worldwide from its theatrical release. Commendable for a small film with high ambitions.

Verdict:

Despite its limitations, Good Boy challenges you as a viewer and keeps you emotionally invested. It is technically inventive, smart in its writing, and more layered than it first appears. At the heart of it all is a protagonist, a dog, whose emotive ability is mesmerizing. Indy carries the film like a star.

IMDb rating: 6.2 out of 10
My rating: 3.5 out of 5

Good Boy is currently running in select theatres in India.

***

About the author:

Siddhartha Krishnan is the author of ‘Two and a Half Rainbows – A Collection of Short Stories’. An enthusiastic blogger he shares his essays, travelogues, book and movie reviews on his blog (www.whatsonsidsmind.com).