A wildly outrageous premise can make something ordinary feel fresh and new; tried and true foundations can temper the ridiculousness of even the most far-flung idea. It's safe to say that reading the one-line synopsis of Viljar Bøe's 'Good boy' raises a quizzical eyebrow, and one's bewilderment isn't quickly ameliorated as the film presents from the outset as a romantic comedy-drama. One can only assume that a turn will come, but until then the picture is just fabulously curious - or rather, creative, in a way that it so often seems filmmakers in the United States have forgotten. Yet while the space this plays in ultimately proves to cover familiar territory, Bøe's twist on the violence, cruelty, and madness allows this 2022 movie to feel wholly original. I had no idea what I was getting into when I sat to watch, but I could hardly be happier with the end result: 'Good boy' is fantastic!
It's well made in all the ways one hopes of modern features, with high production values. The cinematography is crisp and vivid, the editing is sharp, the sound design is crystal clear, and the filming locations are terrific. Gard Løkke and Katrine Lovise Øpstad Fredriksen give outstanding performances of range, nuance, emotional depth, and intensity that bring the tale to vibrant life, from the sweet, to the strange, to the diabolical - and what can one say of Frank except that, well, he's a very good boy? Bøe illustrates a keen wit as director, orchestrating shots and scenes with a sly, wry playfulness accentuating the lighter moods, and a cold viciousness augmenting the places where the narrative goes. In terms of that narrative it's fair to say that we viewers can guess at where the horror-thriller will end up, yet like the superficial absurdity and the underlying commonness, that predictability does not in any way diminish the ghastliness of the third act. The writing swerves hard from quirky romance into bold, dark, earnest (if quirky) insidiousness, and the ending splits the difference between providing the sinister vibes genre fans crave, and simply being too sickening to actually sit well with us.
Yes, one may also reasonably offer the criticism of the writing that Sigrid makes one specific choice that is too poor to pass muster of our suspension of disbelief. I can't argue much with that criticism. I would, however, firstly just suggest in turn that it's no worse a sin than many other titles have committed; secondly, given the fearful behavior she illustrated before that, perhaps those traits we see borne out at the end were already boring their way into her thoughts. With this point having been considered, I can't think of any other flaw or weakness in 'Good boy.' I sat to watch unsure of what I was getting into, certain only that it would be peculiar. It is that, but swirled together with more conventional flavors that complement each other very nicely. As a matter of personal preference this won't appeal to everyone, but I am utterly delighted with how smart and inventive this film is - inventive, and nefariously grim, not least in some of the themes it touches upon. It's definitely a picture best appreciated by those who are receptive to all the wide, wacky possibilities that the medium generally and the genre particularly have to offer, yet so long as one isn't put off by the very premise, I'm pleased to give 'Good boy' my very high, hearty, enthusiastic recommendation! Bøe has given us something very special, and I can't wait to see what he does next. Two paws up!
It's well made in all the ways one hopes of modern features, with high production values. The cinematography is crisp and vivid, the editing is sharp, the sound design is crystal clear, and the filming locations are terrific. Gard Løkke and Katrine Lovise Øpstad Fredriksen give outstanding performances of range, nuance, emotional depth, and intensity that bring the tale to vibrant life, from the sweet, to the strange, to the diabolical - and what can one say of Frank except that, well, he's a very good boy? Bøe illustrates a keen wit as director, orchestrating shots and scenes with a sly, wry playfulness accentuating the lighter moods, and a cold viciousness augmenting the places where the narrative goes. In terms of that narrative it's fair to say that we viewers can guess at where the horror-thriller will end up, yet like the superficial absurdity and the underlying commonness, that predictability does not in any way diminish the ghastliness of the third act. The writing swerves hard from quirky romance into bold, dark, earnest (if quirky) insidiousness, and the ending splits the difference between providing the sinister vibes genre fans crave, and simply being too sickening to actually sit well with us.
Yes, one may also reasonably offer the criticism of the writing that Sigrid makes one specific choice that is too poor to pass muster of our suspension of disbelief. I can't argue much with that criticism. I would, however, firstly just suggest in turn that it's no worse a sin than many other titles have committed; secondly, given the fearful behavior she illustrated before that, perhaps those traits we see borne out at the end were already boring their way into her thoughts. With this point having been considered, I can't think of any other flaw or weakness in 'Good boy.' I sat to watch unsure of what I was getting into, certain only that it would be peculiar. It is that, but swirled together with more conventional flavors that complement each other very nicely. As a matter of personal preference this won't appeal to everyone, but I am utterly delighted with how smart and inventive this film is - inventive, and nefariously grim, not least in some of the themes it touches upon. It's definitely a picture best appreciated by those who are receptive to all the wide, wacky possibilities that the medium generally and the genre particularly have to offer, yet so long as one isn't put off by the very premise, I'm pleased to give 'Good boy' my very high, hearty, enthusiastic recommendation! Bøe has given us something very special, and I can't wait to see what he does next. Two paws up!