Danny (Ben Whishaw) is down on his luck, with no money and nowhere to go. When he devises a plan to get himself out of his funk, his overbearing mother, Jackie (Marion Bailey), and a series of individuals from his past make this difficult for him. Danny is a Good Boy, just like his mother said, but he’s lost his way–and he’s trying to find his way back.
Again and again Writer-Director Tom Stuart lets his viewers know exactly what’s happening, even if they don’t know it. As we follow Danny on his journey toward resurgence, toward finding his way again, we are told time and time again of the underlying issues that are haunting him, that are making his life incredibly difficult. I think, even if we don’t realize it, we are privy to the things troubling Danny from the start. Good Boy is incredibly aware of itself and the story that lies within, and it wants viewers to know what is taking place without giving too much away. Stuart finds a delicate and perfect balance from the start, and as we are pulled into his story, it becomes more and more interesting.
It’s impossible to review Good Boy and not talk about how incredible Whishaw is throughout. He gets to be the goofy, whimsical character that drives the film forward; and he gets to be the person that delivers comedy through the first fifteen minutes of the film. He’s successful in doing this, never missing a beat, and constantly appealing to viewers, however, this isn’t where he shines the brightest. Toward the end of the film he’s tasked with driving home the emotional center of the film, the thing that had been brewing since the start of the film. At this point Good Boy hits an all-time high, as Whishaw delivers a bit of emotion that is so perfect that it’s impossible not to resonate with viewers. He’s brilliant every step of the way, and when he shines the brightest he brought a tear to my eye.
There is obviously a deeper meaning present in Good Boy, one that transcends the entirety of the film but isn’t fully realized until toward the end. With that, however, comes pieces of the film that lend themselves to allowing viewers to become part of Danny’s journey and fully understand the film’s purpose by its conclusion. Danny drives around in an old, beat up Volkswagen bus, and there are often times when he is confined to said bus, playing with the ideas of solitude and isolation that plague him. It’s such a simple metaphor, and honestly, shooting a film inside of a motor vehicle has been done before. With that, however, Stuart creates something different, something that better allows us to understand what is taking place. I often felt confined to the bus, and I was able to feel along with Danny on his journey.
Good Boy is lighthearted and fun until it isn’t anymore, and the film quickly shifts in its final act to something far darker and more daunting. In that final act viewers are pulled in close and forced to deal with Danny’s emotions alongside him. We, too, suffer–but in the best ways possible. Stuart starts in the opening moments, ensuring that by the time the film fades to black, we’ve learned something and that we’ve gotten everything that we can out of the film. He’s successful in his venture, and Good Boy will touch the hearts of everyone who watches.
Written & Directed by Tom Stuart.
Starring Ben Whishaw, Marion Bailey, Paul Chahidi, Dino Fetscher, Jocelyn Jee Esien, etc.
⭐⭐⭐⭐⭐⭐⭐⭐½/10
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