Good Boy Review: True Technical Innovation

Though it unfortunately falls flat in its storytelling capabilities, Ben Leonberg’s Good Boy is truly a technical filmmaking feat.

With Good Boy, writers Ben Leonberg and Alex Cannon explore the common horror trope of the family dog knowing the house is haunted, but not being able to warn the rest of the family. While the concept seems simple, their stellar execution of this story serves as one of the most technically impressive cinematic feats I have seen in recent years. 

Good Boy is told from the perspective of Indy the dog (Indy is director and co-writer Ben Leonberg and producer Kari Fischer’s real-life dog). Indy’s owner, Todd (Shane Jensen of Law and Order), has recently recovered from cancer with Indy by his side and his sister, Vera’s (Arielle Friedman of Unholy) support. However, after a few months of reprieve, it becomes clear that Todd’s cancer has not only come back, but it has become more aggressive. 

After a horrific health scare that only further proves how sick Todd is getting, he decides to make a huge change. He says goodbye to his apartment in the city and, without telling anyone, moves himself and Indy to the house Todd inherited from his grandfather, who mysteriously passed away after seemingly going insane. At first, it seems the house is just run down as it hasn’t been looked after since Todd’s grandfather passed; however, as Indy explores the space, he is confronted by dark spirits and eerie entities. 

As Todd’s health begins to further deteriorate, scaring Vera so much she sees no other option than going out to the house to make sure he’s alright, the aura of the house grows darker. While Indy tries his hardest to warn Todd, he is unable to communicate with his owner the grave danger they both seem to be facing. 

When watching Good Boy, it is impossible not to marvel at the technical side of how this film was made. I was absolutely mesmerized by Indy and his ability to not only tell this story, but carry it so gracefully on his shoulders. 

While Indy’s acting, in and of itself, is sensational, it truly is a testament to the talents of those behind the camera who were able to both pull this performance from him and work with the footage they captured to put this together as a narrative. Composer Sam Boase-Miller and sound designer Kelly Oostman’s efforts are especially exceptional in crafting the world that is Good Boy. 

It’s challenging enough to ensure actors hit their marks and say their lines exactly as a director has envisioned them, but Good Boy takes on the massive task of trying to get the same level of performance with a star who isn’t even aware of how amazing a performance he is truly giving. 

In terms of narrative, Good Boy’s plot is also a standout for how ambitious a story it tries to tell through such a novel concept. While the focus of the film is a slowly deteriorating and haunted house, in many ways, the movie is symbolic of what is happening to Todd. As he grows sicker and slips further away from himself, Indy struggles to try and pull him out of his own darkness. While horror is the operating tool driving the film, the story really stands as a reflection on grief and our desire to comfort the ones we love in the face of unstoppable forces. 

However, Good Boy has its lulls. While the novelty of the film being from Indy’s perspective has serious legs to stand on, the perspective’s limited range of knowledge does impact the momentum of the story. It’s a film that requires patience but doesn’t always give its audience an entirely satisfying payoff for their dedication.

There are times you wish the story had more steam driving it forward and even more horror at the core of it, as the multiple jump scares and figures lurking in the dark eventually become too predictable to be scary. In the same vein, for a film that is made with such intensive focus on the technical way to tell this story, the special effects feel lackluster and bring the audience out of the story. 

All in all, Good Boy is unlike anything you’ve ever seen before. Its storytelling is inventive and one of a kind, truly pushing audiences to engage with the experimental while also playing off of traditional horror devices. The story of Good Boy is not without its faults and flaws, but it is clearly evident that it was made with a true passion for filmmaking. 

Good Boy will be released in US theaters on October 3, 2025 and in UK & Irish cinemas on October 10.