To avoid confusion with the canine character in the spooky dwelling film likewise named Good Boy, this British thriller merges dark comedy into a storyline that echoes sensational real crime documentaries.
Stephen Graham and Andrea Riseborough depict a married duo who, at a distance, may seem to have a perfect existence in the countryside of England. Their remote property is secured by a robust metal gate, keeping them insulated from the turbulent modern era. Their expansive residence features a master suite with a magnificent canopy bed, a room for their delightful son “Sunshine,” accommodations for a live-in maid, and an ample basement suitable for laundry and unique endeavors. Nevertheless, the activities of former police officer Chris and his fragile spouse Kathryn in the basement are anything but pleasant.
Directed by Polish auteur Jan Komasa, Good Boy incorporates narrative aspects similar to Pedro Almodóvar’s unsettling psychological thriller The Skin I Live In, blended with the irreverent humor of a late-night film. The result is something gritty, albeit not entirely triumphant.
What is Good Boy about?
As suggested by the movie’s initial promotional imagery, Good Boy focuses on the rehabilitation attempts implemented by Chris and his family on Tommy (Anson Boon), a 19-year-old troublemaker showcasing his reckless behavior on social media without any repercussions.
Before revealing Chris’ cozy and unconventional family dynamics, Good Boy delves into Tommy’s tumultuous lifestyle. During a wild night, the blonde party boy indulges in clubs, substances, public encounters, and violence with a recklessness that feels more disturbing than exhilarating. As he wobbles home, intoxicated from nearly every vice, a car shadows him, and someone rushes out to seize him.
From this point, Good Boy transitions to another character who enters this family’s sphere. Rina (Monika Frajczyk), a migrant from Macedonia, contemplates a cleaning position at Chris’ residence, despite his unusual inquiry about any “identifying features.”
A flash in her eyes signals a warning, yet her desire to ignore it implies limited choices. Upon arriving at Chris and Kathryn’s abode, she serves as the audience’s guide, navigating us through the house and its oddities, including the boy tethered by his neck in the basement.
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Anson Boon enthralls as the titular good boy.
There’s a touch of Trainspotting in Tommy, particularly his “choose life” mindset that embraces indulgence over decorum. Although constrained like a misbehaving pet, he proves challenging for his captors. While Rina could be a potential supporter, he quickly intimidates her, drawing a stern warning from Chris.
The dynamic between Tommy and Chris and Kathryn is not immediately apparent. However, their objective is to reform the boy until he becomes “good.” Their techniques range from horrifying to humorous. Occasionally, Tommy’s training includes viewing manners videos produced by Chris and his Sunshine (Kit Rakusen). At other times, more violent approaches like a stun gun come into play. Pretending to be electrocuted is merely the start of Boon’s character’s physical challenges, and he embodies each moment with raw intensity.
As the family begins to trust Tommy’s slow advancement, they literally loosen his restraints. This means Boon sometimes struggles against the bindings, while at other moments he finds ways to utilize them to his benefit. His eyes exhibit a sharp awareness that indicates he is not yet subdued, even while he behaves amiably to placate his captors. Tommy is fiercely alive, and in this way, he urges everyone in the house to tap into something wild within themselves, be it rekindling their sexual desire, their happiness, or their curiosity about the world outside the barriers.