THE STORY – A loyal dog moves to a rural family home with his owner Todd, only to discover supernatural forces lurking in the shadows. As dark entities threaten his human companion, the brave pup must fight to protect the one he loves most.
THE CAST – Indy, Shane Jensen, Arielle Friedman & Larry Fessenden
THE TEAM – Ben Leonberg (Director/Writer) & Alex Cannon (Writer)
THE RUNNING TIME – 72 Minutes
We often underestimate the extent to which a shift in perspective can disorient us. Looking at ordinary things from an angle we aren’t used to can make them seem completely different, even otherworldly. Rooms can appear bigger or smaller, sounds can be louder or distorted, and shadows can look like something completely unfamiliar. Ben Leonberg’s ingenious debut feature, “Good Boy,” utilizes this for maximum effectiveness in service of its simple high concept: A haunted house story from the perspective of a dog. A fantastic concept for a film, and Leonberg thankfully makes it feel like more than just a gimmick, giving the story real depth as it imagines the human-dog relationship from the point of view of man’s best friend.
Leonberg can only do so much to put us into his canine star Indy’s head, but luckily for him, the dog’s face is evocatively expressive, showcasing a wide range of emotions that would put many human performers to shame. Because Indy is Leonberg’s own pet in real life, he also had access to a wealth of material from which to build an unbelievably endearing opening montage that introduces Indy and his movie-owner, Todd (Shane Jensen). Cute animals are one of the easiest shortcuts to most people’s hearts, and even though he’s playing with a stacked deck, Leonberg gets you invested in both dog and owner right away. Good thing, too, because once the film’s story actually begins, we find Todd suffering from a terrible illness that may or may not be caused by a shadowy supernatural entity that only Indy can see. After a quick stay in the hospital, Todd moves out of the city to his grandfather’s old farmhouse, which has lain mostly empty for years – Grandpa (Larry Fessenden) died under awful, mysterious circumstances, and as we see in some old home movies, may have suffered from the same affliction haunting Todd. Able to sense the insidious presence where Todd cannot, Indy protects his owner in every way he can. But as Todd gets sicker and sicker, and starts pulling away from his canine companion, will Indy be able to overcome his inability to speak English and lack of opposable thumbs to save his owner?
Yes, in some ways, “Good Boy” is yet another modern horror film about dealing with grief. It gains a lot from the specificity and cleverness of its premise, though, as there haven’t been many films made about a pet experiencing the (potential) death of its owner, and even less from the pet’s point of view. Leonberg and co-screenwriter Alex Cannon have told a very sad story of a man suffering from a terrible illness in the most entertaining way possible, throwing all sorts of rickety haunted house shenanigans at the screen, with everything filtered through Indy’s perspective. Largely thanks to that unique perspective, it works wonderfully. Nearly the entire film is shot from Indy’s close-to-the-ground point of view, and from that vantage point, the natural shadow that forms in corners looks vaguely human-sized, allowing for some creepy moments of mindfuckery. While Leonberg mostly keeps the film in that creepy, eerie, atmospheric register, he does manage one genuinely great jump scare, showing that he could also make a more studio-friendly horror flick if he wanted to.
Thankfully, “Good Boy” isn’t standard in any way. The concept and point of view are original in obvious ways, but Leonberg’s cleverness extends far beyond the script. The play with shadow and light that comprises the bulk of the film’s visual effects has a look and feel all its own, as though the veil between the real world and some sort of shadow realm is lifting, allowing us a peek at what lies just beyond our perception. It’s obviously a low-budget concession, but it works well enough to send some shivers down your spine.
The film can’t fully escape its relative lack of funds – even the barely feature-length runtime feels like a budgetary limitation – but it consistently finds clever ways of working both with and around it, enhancing the viewing experience rather than detracting from it. Since every artistic choice is so closely tied to the film’s unique perspective, even the elements that don’t work have a creative charge to them that carries the film through its weaker points. Indy helps with a performance of uncanny emotional connection, but without Leonberg’s strong conception and clever execution, “Good Boy” would be just a curiosity. As it is, it’s a striking, memorable debut for both filmmaker and star.
