Tom Stuart's Good Boy is a charming yet melancholic dive into personal struggle, mental health, and the weight of familial ties, all wrapped in an offbeat, dreamlike package. With a strong lead performance from Ben Whishaw and an engaging script, the film delivers a touching and whimsical experience.
At its core, Good Boy follows Danny (Whishaw), a man desperate to turn his life around but continually pulled in different directions by his past, his well-meaning but chaotic mother (Marion Bailey), and an array of eccentric characters who weave in and out of his life. Stuart's writing and direction shine through, balancing humor and heartache with an effortless flow that makes the film feel both personal and universal.
The film's strongest asset is its atmosphere. Stuart and production designer Paul Zabih craft a world that feels both lived-in and slightly surreal, with Somerset providing a picturesque yet somewhat unsettling backdrop. The slightly retro costuming adds to this effect, enhancing the film’s dreamlike quality without ever feeling forced. The result is a film that exists in a space between reality and imagination, mirroring Danny’s own struggles with his inner demons.
One of the film’s standout moments occurs early on when Danny, at his lowest, considers robbing a bank. His mother cheers him like a parent at a child’s baseball game, an absurd but oddly touching moment that perfectly encapsulates their relationship. Just as he’s about to go through with it, a doctor (Paul Chahidi) appears, prompting Danny to abandon the plan and flee. This moment, like many throughout the film, is both humorous and heartbreaking, reflecting Danny’s constant battle between desperation and hope.
Whishaw delivers a deeply compelling performance, portraying Danny’s frustrations, anxieties, and fleeting moments of joy with a natural ease. His chemistry with Bailey, who plays his mother with a mix of mischief and unwavering love, is a highlight, making their scenes together some of the film’s most memorable and relatable.
The film also benefits from a fantastic supporting cast, including Dino Fetscher as Leon and an ensemble of quirky yet believable characters who populate Danny’s world. Their interactions range from tender to bizarre, further blurring the line between reality and Danny’s own mind.
Musically, Good Boy boasts a stellar soundtrack, including Electricity by Orchestral Manoeuvres in the Dark, which perfectly complements the film’s mood as the credits roll. The music choices enhance the emotional weight of key scenes, making the film’s quieter moments all the more poignant.
While Good Boy succeeds as a short, it leaves the audience wanting more—more context, more depth, and more time to explore Danny’s journey. The film’s structure and themes could easily be expanded into a feature-length project, as there’s a wealth of material to unpack within its relatively brief runtime.
Overall, Good Boy is a captivating, bittersweet experience that showcases Tom Stuart’s talents as both a writer and director. It’s a film that feels both deeply personal and universally relatable, carried by strong performances, a compelling narrative, and a whimsical yet melancholic tone. It’s a heartfelt exploration of mental health, family, and self-acceptance—one that leaves an impression long after its final, emotional moments.
Jessie Hobson