Good Boy

Good Boy
Good Boy
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Good Boy compels you from its opening frame. A boy called Christian (Gard Løkke) is preparing a meal in his kitchen. He lives by himself. Well, except for Frank, his dog. But Frank isn’t the usual kind of dog; he’s actually human. The type that walks on all fours while wearing an oversized puppy pajama and a doggy face, pretending to be a well-trained pet. Who can understand this? Some form of depraved puppy play? Yes and no. Writer/director Viljar Bøe has made a film that’s part thriller, part dark comedy and partly edgy dating nightmare once Christian gets involved with Sigrid (Katrine Lovise Øpstad Fredriksen).

One of the things that make the Norwegian film truly special is how much its actors have their feet on the ground, and they dominate their works onscreen. It is an enchanting story into some of the dark corners of human psyche which raises more questions than it answers in truth. Here, too, Bøe would like viewers to answer these themselves for him and you will as well find out why? Like anxious dogs with teeth locked around precious sticks, Good Boy doesn’t let go.

Don’t use tinder after watching Good Boy; it is not good advertisement at all! Christian’s house in an estate. He’s wealthy, he’s handsome but he is also lonely as f##k! One day while scrolling through a dating app, he swipes right on Sigrid’s profile picture therefor they meet somewhere at a restaurant where they engage in lovely conversation over dinner together while enjoying some laughter between them hence having fun until either one decides to spend their night with each other where both express feelings openly at least throughout this particular scene that happened when everything was ending up nice as it usually does sometimes when suddenly everybody thought nothing went wrong so far what else could they do without making any sense whatsoever? Sigrid’s smile is full of happiness. Christian oozes sexiness. So, they go to Christian’s place and…

Sigrid keeps her initial impulse to flee in check and continues dating Christian instead. She even starts playing with Frank like he’s a dog too. After all, Christian is a hottie, not to mention filthy rich dollars according to what she revealed by an acquaintance who knew him one day when casually talking about his social life on the side without any apparent reason or need for secrecy or anything else similar at all; although perhaps just some kind of rich man tick. Sigrid ignores her instincts when Christian invites her fry cabin weekend plans that are unfolding against everything else she thinks matters most based only upon limited knowledge which exists solely due ignorance considering how these thoughts became evident during this conversation between two people who barely know each other yet seem so comfortable having several drinks together.

The turning point comes suddenly around the middle of the film, done perfectly, and propelling Good Boy towards its heart-pounding climax. The plan fails on the cabin trip resulting in sudden horror facing everybody either from within themselves or from something outside them which has taken total control over their lives; hence Bøe delivers this section of the film in such a way that it can be framed correctly with an expert eye further illuminating mysteries.

Gard Løkke makes his case for viable leading man. Seen earlier in Troll and A Star Is Born – the miniseries, this Norwegian actor could do really well when he crossed over to American films. He was amazing, you are simply drawn to him as a character and even if you know more about his relationship with Frank.

Katrine Lovise Øpstad Fredriksen is a real revelation. This is the actor’s first major starring role but don’t let that fool you. There’s something about it. She is Sigrid in Good Boy, which makes her performance very emotional because she can react and express her emotions convincingly at different times of extreme highness or extreme lowness. And so Sigrid serves as a surrogate for the audience across Good Boy. How the hell this girl will get herself out of the mess she got into is a wicked joy to watch.

Amalie Willoch Njaastad, along with Nicola Narvesen Lied, plays supporting roles here; Bøe does add some rational perspectives from these few characters beyond its main three actors. But, despite being set in just two primary locations for most of its duration, it feels anything but claustrophobic when filmed by Bøe. Hence, there is an entangled charm of this narrative inviting one inside into its bizarre and fascinating world.

Finally, it has been argued that last fifteen minutes of the film are absolutely scary roller coaster ride ever put on screen [sic]. On top of that damn shocker of an ending shot in The Good Boy movie which will have your jaw dropped forever! [sic] If such would happen someday then there might also exist an American version about it afterwards because this film offers everything one could wish for 1 . However enjoy this offbeat vitality presented here as well 2 . It’s an edgy tale Best part? Good Boy is unforgettable and tail-waggingly good time.

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