Good Boy (2025) is directed by Ben Leonberg, who also wrote the script alongside Alex Cannon. It stars Indy the Dog, Shane Jensen, Arielle Friedman, Larry Fessenden, Stuart Rudin, Hunter Goetz, Anya Krawcheck, and Max the Dog. The film is told from the perspective of Indy, a loyal canine whose beloved owner (Jensen) is targeted by an evil supernatural force. Doing his best as a typical “good boy,” Indy attempts to protect his owner in any way he can. Unfortunately, a dog can only do so much. Can Indy find a way to save his friend before it’s too late, or will he be forced to watch him suffer a much darker fate?

Other than Shane Jensen, the human cast is relegated to only a handful of speaking lines. Even so, it’s clear that these are amateurs at best. Their delivery is awkward and unconvincing, often causing the viewer to laugh at moments that are clearly not intended to elicit such a response. Thankfully, Indy the Dog receives the majority of the film’s focus. I often find myself annoyed by haunted house/possession/ghost movies that feature long, drawn-out scenes of someone walking around their house in the dark for seemingly no good reason. This behavior feels far more fitting for a dog, thereby amplifying the authenticity of this kind of slow-building, quiet dread. This feeling of unease is also bolstered by the fact that Indy feels far more vulnerable than most human characters. There’s a sense that Indy is just aware enough to be scared, but never so much that it feels like he fully understands just how much danger he’s in. 

Indy’s inability to fully communicate with his owner also adds a sense of inevitable tragedy to the story. He’s constantly trying to warn his owner like any good dog would, but his efforts are ignored/explained away as typical jumpy dog behavior. This darkness is thankfully balanced by the film’s consistent ability to make the viewer think, “What good ol’ boy.” I’ve never owned a dog, but even I found myself melting over Indy and his owner’s simple, but endlessly sweet relationship. The film often shines in its mundane interactions between dog and human, making this a must-watch for anyone who considers themself an animal lover.

Because this is a film with a silent protagonist and a gimmicky (but compelling) premise, it occasionally struggles to justify its already slight 82-minute runtime. It’s basically just a simple setup, some creepy vibes, and then the climax. There’s no real character development or exploration of relevant themes, just some fun technical filmmaking that shakes up the visual perspective of an otherwise played-out subgenre.

Its initial charm wears off a lot quicker than one would hope, but it catches a second wind in the climax. In its last 15 minutes or so, I realized just how much I cared about and liked following Indy. His innocence and subdued intelligence could’ve made him frustrating to follow, but it actually just makes him more sympathetic, like a fragile, inexperienced preschooler. His lack of ability makes him someone we want to protect, not criticize. 

Overall, this is a fun but flawed piece of experimental filmmaking that succeeds in adding something fresh to its chosen subgenre. However, the fresh elements it brings to the table aren’t nearly enough to fill a satisfying feature-length film. Even at 82 minutes, the experience feels like it’s 20 minutes too long. I’ll admit that it won me over by the end, but the experience feels more like a sparse appetizer than a hearty, filling meal. I really hope this eventually inspires a similar film that takes this premise in more original, creatively daring directions. I won’t say it’s a must-watch for horror fans, but almost every dog-lover should add it to their list. Even in its worst moments, Indy’s natural cute-factor works to slap a fat grin proudly across your face. B-