Search Results

HONEY DON'T Starring: Margaret Qualley, Aubrey Plaza, Charlie Day, and Chris Evans Director: Ethan Coen ADRIANO In director/co-writer Ethan Coen's second lesbian crime B-movie, he might have lost the plot entirely. Despite a well-rounded and committed cast, Honey Don't! flip-flops through plot points, starting something interesting before pivoting to something else entirely, sometimes with little to no payoff, all in service of gags. In theory, this isn't an issue; it is a comedy after all. The problem? The gags are rarely ever funny. And as good as it looks, it's stylistically flat, especially compared to Drive-Away Dolls , making a film so forgettable that you can't help but hope Ethan will reunite with his brother soon. NICK Honey Don’t! is a step down from Drive Away Dolls in every way. While Margaret Qualley is fine as the lead, the story she’s given is a mess. The longer the film went, the more it became a parade of plot threads being introduced while others were dropped without justification. Even fleshed out ideas featured nonsensical and questionable character motivations or silly twists. It’s as if Ethan Coen and Trisha Cooke would write an idea, only to become distracted and abandon it. After this unfocused effort, I’m about done with this trilogy and ready for Ethan to find his way back to his brother Joel. PAIGE Honey Don't! is a pulpy, dry attempt at a comedic detective movie that is not only extremely dull but also quite a mess. It’s lacking that typical (Ethan) Coen-aesthetic we’re used to getting on the big screen, which is usually paired with sharp writing and character depth. Don’t get me wrong, the ensemble is great, really doing the best they can with what they are given. However, unfortunately, they just aren’t given much because the script is filled with blatant plot holes while lacking any sort of direction. Honestly, Honey Don’t! is a prime example of why the Coen Brothers need to reconnect and make another movie together.

PRISCILLA Starring: Cailee Spaeny, Jacob Elordi, Dagmara Dominczyk, and Ari Cohen Director: Sofia Coppola ADRIANO As a long-time admirer of director Sofia Coppola, I'm delighted to say that Priscilla exceeded my expectations. The sheer force of Cailee Spaeny's nuance alone makes Priscilla something special, but in true Coppola fashion, she pushes beyond what is expected of her to create an almost fairytale-like story about the flame of young love and when that flame goes out. The film is remarkably judgement-free while simultaneously never giving Elvis Presley (played astonishingly by Jacob Elordi) a pass. There is maybe one scene I'd take out, but beyond that, Priscilla is a fantastic telling of one of history's most famous couples. QUENTIN Although it drags a bit in the middle (and I admit a proclivity to liking almost all things related to Elvis Presley), Priscilla is easily director Sofia Coppola’s finest film to date. By flipping the script to tell the other half of the story, we come to learn more about the at times beautiful but often troublesome relationship between Priscilla (Cailee Spaeny) and The King (Jacob Elordi). It’s obviously more subtle, empathetic, and sensitive than last year’s Elvis , but no less affecting as it paints an honest portrait of young love, insecurities, and seeing your way through to the other side. NICK One of Sofia Coppola's best directorial efforts, Priscilla ’s success comes down to decision-making. The film’s vibe adapts to suit the themes within Elvis (Jacob Elordi) and Priscilla Presley’s (Cailee Spaeny) romance, yet never attempts to exploit or villainize these characters. A successful relationship needs to be one of partnership, not ownership; sadly, their union fits the latter. Spaeny’s journey from smitten schoolgirl to discouraged wife is classy and poised, while Elordi exposes Elvis’ darker side in a performance focused on the man over the celebrity. Each gives a terrific performance that should carry Priscilla straight into the awards conversation. PRESTON Priscilla is absolutely beautiful cinematically, and it perfectly captures the aesthetics of the time. Otherwise, it is an unsatisfying slog that leaves a lot of meat on the bones…I know, I’m bummed too. Elvis Presley is only one generation removed from my own, and the storytelling assumes the viewer has trivia-level knowledge of the Presleys' lives. Why not tell Priscilla’s (Cailee Spaeny) whole story instead of just demonstrating that Elvis (Jacob Elordi) was an asshole and that she was, somewhat complicitly, taken advantage of? The pacing, editing, and lack of character development rounded out an experience that had me feeling less than enthused upon theater exit. PAIGE Although Priscilla thrives on the brilliant direction from Sofia Coppola, it’s the captivating lead performances that will rope you into this story. That especially applies to Cailee Spaeny, whose portrayal of Priscilla captures the icon’s pure essence and emotions simply through facial expressions, something not many performers can pull off successfully. Overall, this film feels like a dark fairytale, giving viewers a glimpse inside a couple's young love, where one partner has the power while the other is being robbed of innocence. Granted, though, while it’s a nicely paced story that builds towards its climax gracefully, the ending moment isn’t as impactful as I had hoped. CALEB With Priscilla , director Sofia Coppola weaves a devastating tale that explores innocence and the people who prey upon it. On a technical level, the film is practically flawless. The editing, cinematography, and score are all amazing; however, the true magic of the experience comes from its two leads and their powerhouse performances. Cailee Spaeny shines, effortlessly capturing Priscilla’s gentle naïveté, while Jacob Elordi dominates the screen, instilling his Presley performance with a crushing, profound sense of emptiness. With performances this amazing and direction this impeccable, it would be dishonest for me to call Priscilla anything less than a triumph. This film was reviewed by Quentin as part of Bitesize Breakdown's coverage of the 2023 Venice International Film Festival.

VENGEANCE Starring: B.J. Novak, Boyd Holbrook, Ashton Kutcher, Issa Rae, J. Smith-Cameron, Eli Bickel, Dove Cameron, and Isabella Amara Director: B.J. Novak NICK Who'd have thought a film that starts off so shallowly could be so insightful? B.J. Novak's directorial debut has a lot to say about relationships and the climate of our world, and in true 21st century fashion, it does so through a podcaster. When the film is a grounded, quasi-family story, it’s great. There are some very funny jokes and solid character growth. However, it falls apart in the final act. It relies on a few film clichés and undoes its good work by trying to be bigger than it needs to be. Still, an entertaining watch and solid launching pad for Novak. JACOB B.J. Novak’s Vengeance may not revolutionize murder mysteries or offbeat comedies, but it remains one of the smartest movies 2022 has to offer and a stellar debut for Novak in the director’s chair. While it doesn’t quite succeed at everything it sets out to do, Novak’s ingenious script offers three-dimensionality to characters most other Texas-set comedies would only poke fun at, confronting stereotypes head-on from both sides of the aisle in nuanced and often unexpected ways. The entire cast turns in excellent work too, but it’s Boyd Holbrook and Ashton Kutcher that end up stealing the show. QUENTIN In his directorial debut, B.J. Novak has a lot on his mind about the current state of America, touching on everything from aspirational fame, hook-up culture, small town bureaucracy, the exploitative true crime genre, and the Red State v. Blue State divide. It’s admittedly a lot, and while the commentary is sharper on some points than others, the gist of what he is saying in the less clever moments still is enough to get you thinking. That’s hardly a complaint though, as Vengeance remains darkly funny with an engaging mystery, not to mention the excellent performances from Boyd Holbrook and, of all people, Ashton Kutcher.

THE MONKEY Starring: Theo James, Tatiana Maslany, Elijah Wood, Christian Convery, Colin O’Brien, Rohan Campbell, and Sarah Levy Director: Osgood Perkins ADRIANO After the excellent Longlegs , writer/director Osgood Perkins' follow-up, The Monkey , not only fails to meet that high bar, it doesn't even come close. At first, the film's unhinged comedy-horror tone worked, and I was even laughing at some of the vicious kills. However, after a time jump, I was less forgiving of the obviously bad writing and uninteresting familial storyline. Even worse, the kills became less fun, it was rather tensionless, and in the end, the film wound up being very cynical about death's inevitability without any real reason beyond cynicism. QUENTIN Most horror comedies go wrong by trying to insert jokes into situations meant to be tense, causing neither the humor nor the dread to fully land. Director Osgood Perkins must share this view because The Monkey is a hilarious addition to the genre that does well to mesh playfulness with mayhem by relying on over-the-top, tongue-in-cheek, self-aware campiness to bring the laughs instead of being “jokey.” The ridiculous death scenes conjure memories of Final Destination (but far gorier), and although the family storyline slows the gruesomely fun momentum at times, I was kept in eager anticipation for the next grindhouse-style kill. I had a blast. ROBERT As a society, we are aware that creepy toys are always the embodiments of evil, but The Monkey sees director Osgood Perkins raising the stakes on that truth, tenfold. Throughout the film, we are treated to a plethora of accidental deaths trumped up to drive home their hilarity, and the snickers and giggles never wane. While the underlying drama is unengaging, the set pieces and staged kill scenes never disappoint. Perkins understands how best to curate shots for timing and tension in this type of environment, and kudos to the cast for knowing the assignment and running with it full sprint. PAIGE The Monkey is a complete departure from director Osgood Perkins' previous film, Longlegs , because the director was clearly more inclined to focus on the zany and absurd aspects of the story rather than its dreadful and moody tone. While the movie excels with its inventive kills and sheer body count, it fails miserably when trying to capitalize on the humor of it all. The dialogue throughout this horror comedy is embarrassingly cringeworthy, too. I would have had a somewhat better time had the movie maintained the intensity it displayed during its first half, but, overall, I did not go bananas for The Monkey . NICK Coming off last year's horror hit Longlegs , director Osgood Perkins had firmly stamped himself as “one to watch.” Not even a year later, we get his follow-up, The Monkey , and it’s as if it was directed by an entirely different person. Despite its clever marketing, this film is neither scary nor funny (although it thinks it’s the latter), instead falling somewhere between annoying and disjointed. Nothing stands out positively, including the kills, which are somehow the highlight yet still play like a Final Destination rip-off. Last year was a really good year for monkey films, but that streak has come to a screeching halt. BODE If there’s one thing about Longlegs that caught me off guard, it was the sly sense of humour effectively sprinkled throughout all the dread. So, knowing that director Osgood Perkins would lean more into comedy with his follow-up, The Monkey , was fairly exciting. Unfortunately, he’s not totally successful with his pivot. There is fun to be had initially, especially with some of the kills, but as the unengaging familial drama gets more of a focus later on, the film loses plenty of steam and never fully recovers. The flat jokes and smug attitude it adopts don’t help either. Overall, The Monkey is a disappointment. KATIE The Monkey is not a particularly high-quality film, but it's a good time at the cinema. I find that the majority of horror comedies don’t do either element well, mixing them rather than giving the right amount of attention to either one, but I enjoyed the way The Monkey alternates between a creepy atmosphere, grisly kills, and cheesy humour. Theo James is funny in the dual role of Hal and Bill, but the familial drama is weak, adding to a recent stint of horror films that rely on a damaged father-son relationship for emotional engagement. However, they all fail since they feel perfunctory and ultimately empty. BRYAN With it being Osgood Perkins’ follow-up to the excellent Longlegs , there was a lot riding on The Monkey . Unfortunately, the execution fails to match what was promised in the marketing, reminding us that not all short stories can successfully transition into feature-length territory. Theo James is doing his best with the material given, and some of the scares are cleverly staged, but the blending of humor and horror is where the film hits a lot of bumps as the repetitiveness wears thin quickly. Plus, talk about major tonal inconsistency. I didn’t walk out of this feeling angry, but more so disappointed.

DOLLY Starring: Fabianne Therese, Seann William Scott, and Max the Impaler Director: Rod Blackhurst This film has been reviewed by Nick and Quentin as part of Bitesize Breakdown's coverage of Fantastic Fest 2025. QUENTIN While I appreciate the homage to The Texas Chainsaw Massacre , both in general story and 70s aesthetic, Dolly ultimately falters because there is little in the way of character development. There is plenty of violence and blood, including one especially gnarly kill, but the story is nothing more than paper-thin final girl trying to survive a murderous psychopath. That’s not to say there isn’t some fun to be had, but the unrelenting moments of gore, modest thrills, and doll-driven creep factor can’t make up for the complete lack of actual plot. NICK As far as its unsettling imagery, gnarly moments, and a creepy villain, Dolly is great. Unfortunately, you need to build an enticing plot around those aspects, and writer/director Rod Blackhurst never really does. There’s a premise, sure, but there’s only about enough story here for a short film, and this thing runs over 80 minutes. Also, as creepy as the atmosphere and 70s aesthetic of the film can be, the film isn’t particularly scary, which is something you’d want with this kind of “monster movie.” There’s scenes in Dolly that will stick with me, but the film as a whole is fairly forgettable.

SPACEMAN Starring: Adam Sandler, Carey Mulligan, Paul Dano, Kunal Nayyar, Isabella Rossellini, and Lena Olin Director: Johan Renck PRESTON Spaceman , if nothing else, is a conversation starter. Adam Sandler continues to impress in his adeptness with any acting role he is given, and the film is mesmerizing with its beautiful cinematography and a particularly eerie character (Hanuš), voiced by Paul Dano. In truth, my adoration for its more compelling elements, including its lofty narrative about the human condition, the need for connection, and the exploration of what really matters in life, isn’t enough to pull it out of its esoteric and shallow hole. It doesn’t quite come together in the end, leaving me in a confused and rather somber state. AMARÚ There’s a weird thing that happens with Adam Sandler’s Czech accent in Spaceman . He doesn’t really attempt the accent, but he’s not speaking normally either, except, occasionally, when a New York inflection creeps through. It’s very fascinating to witness, if not well executed, and the movie is just as fascinating in its flawed execution. The premise is immediately intriguing, but something unintentionally funny or deadpan often takes you out of it. However, that disconnect brings about another premise that you're compelled to keep watching. This two-hour cycle of peculiarity ultimately ended in an uncanny experience I couldn’t help but enjoy. PAIGE Unfortunately, Spaceman is a plodding astronaut drama that gets lost in space. Apart from its pretty cinematography, decent score, and Paul Dano's calming vocal performance as the inquisitive and compassionate space spider, Hanuš, this self-serious sci-fi movie falls short on many levels. Carey Mulligan is underused, Adam Sandler is completely miscast, and the film struggles to evoke a thought-provoking contemplation on loneliness. All in all, we’re left with a simple man slipping down the rabbit hole, reliving his fragile memories and dealing with his mistakes. QUENTIN Spaceman is a slow-moving, meditative, and melancholy sci-fi oddity that, while I can’t say is something I loved overall, is *thisclose * to being a subtly brilliant examination of the human psyche, loneliness, and the evolution of a potentially fading love. Broken down to its individual parts, it offers a lot to be enamored with: Adam Sandler’s soulful performance, a talking spider (voiced terrifically by Paul Dano), and aesthetically pleasing, planetarium-esque visuals. However, despite all that, it’s a bit of a drag. Much like Steven Soderbergh’s Solaris , Spaceman is a worthy movie for extremely patient fans of cerebral sci-fi, but it’s certainly not for everyone. ADRIANO While I am very pleased to see Adam Sandler continue down a path that allows him to show off just how good of a dramatic actor he is, Spaceman is not great. It’s not horrible by any means, as there are some visually grand moments and Sandler is fantastic alongside a great vocal performance from Paul Dano; however, the film's attempts at deep and emotional wisdom are just too much at a distance, especially when it's in contrast to nonsensical world-building and a third act that makes no sense. I see genuine motives in this film, but the execution falls flat. CALEB Beneath its veneer of cosmic wonder, Spaceman lacks depth. Jakub (Adam Sandler) and Lenka’s (Carey Mulligan) star-crossed relationship is the focus of this space-drama, but their marriage isn't complex enough to justify the time spent on it. Jakub’s arc is extremely basic, and it’s a chore watching him come to the obvious realization that he should treat his wife better. Hanuš (Paul Dano), the telepathic alien, is likable, but his tendency to bluntly state how the protagonist is feeling gets old fast. Spaceman may look great, but its impressive visuals are wasted on a script that never really takes off.

APORIA Starring: Judy Greer, Edi Gathegi, Payman Maadi, and Faithe Herman Director: Jared Moshé This film has been reviewed by Nick, Paige, and Quentin as part of Bitesize Breakdown's coverage of the 2023 Fantasia International Film Festival. PAIGE Director Jared Moshé’s Aporia is thought-provoking as it explores the impacts of grief and morality. The genre-bending time-travel film is a risky and chilling tale that makes you ponder about the choices we are presented with in life and the impact of the decisions we make. However, due to its middling script, it falls a little flat. While Judy Greer, Edi Gathegi, and Payman Maadi deliver solid performances, the film lacks momentum and character depth. Aporia needed more build-up for the audience to care about these characters' journeys. QUENTIN If you’re a fan of 2004’s indie time-travel movie Primer or the films of Aaron Moorhead & Justin Benson (The Endless , Something in the Dirt ), Aporia is for you. It’s the kind of slow burn, cerebral sci-fi that asks important questions…in this case, about the ethical dilemma of using a time machine to change the past for personal reasons, as well as the unintended butterfly effects…but it fails to ask them in super interesting ways. As much as I love the premise, the truth is that the movie is fairly boring. But I also thought Primer was boring, and people love that movie, so… NICK Featuring a highly interesting premise and a solid lead performance from Judy Greer, Aporia is a film stuffed with potential for a unique sci-fi tale. Unfortunately, most of that potential is unrealized. It's certainly watchable, and the focus on the consequences of changing the past and the spiral effect of trying to amend those very consequences is well done. However, its slow pacing does it no favours, and the character logic can be beyond head-scratching at times. Again, this isn’t a bad film, but as it ended, I couldn’t help thinking about how much better it could have been.

BLACK WIDOW Starring: Scarlett Johansson, Florence Pugh, David Harbour, Rachel Weisz, O-T Fagbenle, Ray Winstone, and William Hurt Director: Cate Shortland QUENTIN Black Widow is basically the MCU meets Red Sparrow , with a hint of the Bourne movies. It generally follows the Marvel formula, which leads it to be decently entertaining, but also gives it a "going through the motions" vibe: The action scenes are well-done, but not super exciting; The one-liners are amusing, but not funny; and Taskmaster is kinda cool, but just a henchman. It drags a little in the middle too. Florence Pugh is a highlight, but overall, it’s a little paint by-numbers. As a standalone MCU entry, it's better than Captain Marvel , but not as good as Ant-Man . AMARÚ Black Widow shines when it's a spy thriller with emotional stakes. When leaning into these aspects of Natasha Romanoff’s (Scarlett Johansson) life, it feels less like an MCU flick and more like a solid Bourne sequel. Florence Pugh shines every second she's on screen, to the point where Johansson, David Harbour, and Rachel Weisz seem like they're supporting her movie. Still, with Johansson leading, Black Widow is a good time, if a bit predictable. But with Pugh next to her, it’s the movie we've been dying to see for two years. JACOB Black Widow can't help but feel a bit like a placeholder due to its setting. Plus, it has a balancing issue that makes it difficult for the film to fully succeed. In the beginning, the action is too frequent; in the middle, there's not enough. It also falls prey to a lack of character development, as Taskmaster isn't particularly compelling as an antagonist. That said, most other things, such as the action, performances, and visual effects, are pretty well in line with Marvel standards, reinforcing that even lesser Marvel is still a damn good time at the movies.

WILL & HARPER Starring: Will Ferrell and Harper Steele Director: Josh Greenbaum ADRIANO Will & Harpe r is the best Will Ferrell comedy I've seen in some time, featuring the laugh-out-loud moments that have been missing in the comedian’s most recent outings. Will & Harper is much more than laughter, though. For a documentary, the movie is very cinematic, and the core friendship at the heart of the film will make anyone smile. With its mature discussions and examination of post-transition life, this is a road movie that could be seen as necessary viewing. You'll laugh a lot, but when all is said and done, you may even cry. KATIE Will & Harper is a hopeful film highlighting the importance of approaching unfamiliar situations with open-mindedness and understanding. The documentary doesn’t try to convince the viewer to align with a particular viewpoint, with the focus remaining on the heartwarming friendship between Will Ferrell and Harper Steele, as well as Steele's personal experiences. In this sense, Will & Harper is free of the pressures that the media places on a lot of transgender people, who are expected to act as representatives for their entire community, which allows space for Ferrell to ask awkward questions and make mistakes as he reacquaints himself with Harper. QUENTIN Will & Harper is a charming road-trip documentary that explores friendship, acceptance, and the adjustment period that inherently occurs after a person transitions, both for the one making the transition and the people around them. For some, particularly those who have never been exposed to a trans person, this almost should be considered necessary viewing as it gets to the humanity of the situation. On the other hand, for a person like me, who has several close LGBTQ+ friends (including some who have transitioned), I’ve had many of the conversations depicted in the film, which results in a movie that is touching but not exactly enlightening. This film was reviewed by Adriano as part of Bitesize Breakdown's coverage of the 2024 Toronto International Film Festival.

MARIA Starring: Angelina Jolie, Pierfrancesco Favino, Kodi Smit-McPhee, Alba Rohrwacher, and Haluk Bilginer Director: Pablo Larraín AMARÚ Have you ever been around someone who only needs to utter a sound and everything is pulled towards them? Well, that’s how mesmerizing Maria is, and triply so, through a bombastically operatic score, eye-popping color & kinetic camera work, and Angelina Jolie’s every statement, stance, and smile as Maria Callas. Director Pablo Larraín takes a deliberate approach with the film, spending a half-a-second longer on every decision, and while that may feel a tad bit burdensome, it also keeps hold of your full attention, especially on Jolie’s gravitational pull. ADRIANO As someone who loves director Pablo Larrain's previous biopics, Jackie and Spencer , I found Maria pretty underwhelming. It's not bad by any means, featuring breathtaking cinematography, effective use of Maria Callas' (Angelina Jolie) music, and an outstanding performance from Jolie. However, this film is much less challenging than the other two because it spoon-feeds its main thesis early on (they don't love her , they love her voice) before spinning its wheels for the rest of the runtime until reaching an inevitable conclusion. Add in the stagey dialogue, and Maria is one of my biggest disappointments this year.

ELEANOR THE GREAT Starring: June Squibb, Erin Kellyman, Chiwetel Ejiofor, Jessica Hecht, Will Price, and Rita Zohar Director: Scarlett Johansson AMARÚ If we can keep having June Squibb-led, first-name-titled films for as many years as possible, I wouldn’t mind. After 2024’s action-packed nonagenarian romp Thelma , Eleanor the Great shifts gears for Squibb in a touching look at friendship, grief, and aging that showcases how her impeccable range can tackle multiple genres without missing a beat. She’s sassy, funny, and quick-witted while presenting a vulnerability accentuated by great chemistry with an equally touching Erin Kellyman. Hasty editing and abrupt tonal shifts sometimes dampen the desired emotional impact of this unique story, but its heartfelt performances still make this a solid directorial debut for Scarlett Johansson. ADRIANO How does Scarlett Johansson fare in her directorial debut? Considering Eleanor the Great is mostly directed like a sitcom, I'd say she has some wrinkles to iron out. That said, it's watchable. June Squibb keeps this afloat with a charming and emotionally effective performance. The writing I have mixed feelings about. In some moments, I found it funny and endearing; however, I don't know if writer Tory Kamen found the correct balance of moral ambiguity and charming crowd-pleaser. I don't think Eleanor the Great hit the marks it was striving for, but I was still left somewhat happy with it.

GOOD BOY Starring: Indy, Shane Jensen, Arielle Friedman, and Larry Fessenden Director: Ben Leonberg QUENTIN Weapons and its director, Zach Cregger, have (rightfully) dominated the horror conversation recently, but both director Ben Leonberg and his feature debut, Good Boy , need to be mentioned right alongside them. Seriously, and surprisingly, this is one of the best and most creative horror movies in years thanks to Leonberg’s brilliantly novel direction and — I’m not even joking — perhaps the best performance of the year. Yes, I’m talking about Indy the Dog. I felt every bit of the pup’s fear, confusion, anguish, and concern, which drives an effectively innovative horror experience that is spookily disorienting and oddly heartfelt. Good boy!? Very good boy… AMARÚ While Indy the Dog is one of my favorite performances to watch this year, his work also happens alongside overly dramatic voice-overs from his human counterparts. Although the cute hook is enough for me to turn on this uniquely delivered horror film, it isn’t enough to make Good Boy a good movie. Watching a sick human slowly break down from Indy’s perspective is as mundane as it sounds, and typical horror tropes like sharp music cues, dark shadows, and distorted figures in the background only solidify that this is nothing more than a slowly paced, uninspired scary story with a fur-filled, glossy sugarcoat. NICK All the hype you’ve heard about Indy the Dog is justified, as he is absolutely the reason to watch Good Boy . Now, you could make the argument that strategic editing plays just as big a part, but let’s not take credit away from this good boy. Beyond Indy - and some great video game-style third-person camera shots - I wish there was more here. The human performances don’t match the canine, and despite feeling all of Indy’s emotions, Good Boy doesn’t exactly give you reason to feel your own. I love the creative swing (much like In A Violent Nature ), but it could’ve been better. KATIE Good Boy is an entertaining, emotionally engaging horror film with a refreshingly unique premise. The genuinely moving performance from Indy the Dog, who is incredibly expressive and compelling all impressively without the aid of CGI, is the heart and soul of the film. It excels at maintaining tension and building suspense with minimal dialogue, thanks to its simple premise, Indy’s performance, as well as effective editing and a tight 73-minute runtime. Director Ben Leonberg finds creative ways to solidify focus with Indy, and I really enjoyed this strangely sweet, but very spooky, tribute to man’s best friend. ROBERT When the premise of Good Boy was described to me, I immediately thought of Courage the Cowardly Dog . While the gesturing and talking are toned down, the terror and the need for protection bleed through in Indy the Dog’s inspiring performance. The thematic elements of the haunting, which coincide with the illness of Todd, Indy’s owner, are effective and chilling, and the technical wonder of using the cameras to see from Indy’s perspective keeps you invested. I wish, despite the job they do to make us understand Todd’s plight, that they had made him and his sister more sympathetic; however, overall, the whole is greater than the sum. This film was reviewed by Quentin as part of Bitesize Breakdown's coverage of Fantasy Filmfest 2025.