Absurd, Heartfelt, and Impossible to Shake Off

Read Time:5 Minute, 8 Second

MOVIE REVIEW
Good Boy
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Genre: Comedy, Drama, Short
Year Released: 2023
Runtime: 16m
Director(s): Tom Stuart
Writer(s): Tom Stuart
Cast: Ben Whishaw, Marion Bailey, Dino Fetscher, Mark Monero
Where To Watch: available now, streaming on Disney+

RAVING REVIEW: GOOD BOY doesn’t just tell a story—it invites you into the messiness of grief, the unpredictability of human connection, and the absurdity that life throws at us when we least expect it. What starts as a heist plan goes awry and morphs into something much deeper, balancing humor and raw emotion. Tom Stuart’s directorial debut keeps things engaging with surreal storytelling, excellent character exploration in a short window, and a narrative that unfolds like a quiet revelation.

At the center of it all is Danny, played by Ben Whishaw, a man who seems to be both running from his past and stuck in place. Driving around in a van that's seen better days, he’s accompanied by his mother, portrayed by Marion Bailey, whose chaotic yet oddly supportive presence is just as much of an obstacle as it is a comfort. Their plan? Robbing a bank to save themselves from financial ruin. But like most ill-conceived schemes, things don’t go according to plan.

The story turns when someone from Danny’s past shows up at the worst possible moment, throwing him off course just as he’s about to make a move. What follows isn’t just a botched robbery but an unraveling of his entire world, brought to the surface by a seemingly insignificant accident. It is the kind of symbolic storytelling that sneaks up on you, making the film’s themes hit harder without ever feeling forced.

One of the strongest elements is the dynamic between Danny and his mother. Their interactions feel lived-in, layered with years of unspoken resentment and reluctant dependence. Bailey’s performance keeps the story unpredictable—one moment, she’s encouraging; the next, she’s pushing Danny toward chaos. It’s a delicate balance of humor and frustration, making their scenes entertaining and emotionally weighty. There’s an underlying tension between them that the film never fully spells out, trusting the audience to pick up on the complicated nature of their bond.

Whishaw delivers an anxious and deeply vulnerable performance, capturing a man who seems to be seconds away from falling apart at any moment. He doesn’t rely on dialogue to convey Danny’s state of mind; his body language, hesitations, and even his erratic bursts of energy tell the story of someone desperately trying to hold everything together. His performance feels effortless yet layered, making Danny’s journey all the more compelling.

The film leans into a nostalgic yet slightly offbeat aesthetic, using warm color tones and detailed production design to create a grounded and surreal atmosphere. The van, cluttered with memories and remnants of the past, acts almost as an extension of Danny himself—a space that is both a refuge and a prison. The cinematography captures this instability, shifting between introspection and energy, reinforcing the film’s central themes without being overly obvious.

The film’s ability to shift between humor and emotion makes it truly engaging. It never gets bogged down in melodrama, nor does it reduce its themes to easy punchlines. Instead, it finds humor in life’s absurdity—how grief can sneak into the smallest, most unexpected moments. The strange encounters along Danny’s journey and bizarre conversations create a darkly amusing narrative; the story isn’t just about loss and being stuck. The film doesn’t hand him an easy solution, nor does it try to wrap things up neatly. Instead, it leans into the uncertainty of grief, acknowledging that moving on isn’t about forgetting but learning how to live with what’s been left behind.

Stuart’s direction is confident, allowing the film’s quiet moments to breathe while keeping the momentum alive with well-placed humor and surreal touches. His background in screenwriting is evident in how the narrative unfolds, never over-explaining but always giving just enough to let the audience engage with the story in their way. The restrained yet emotionally rich approach works to the film’s advantage.

GOOD BOY is an unpredictable, funny, and surprisingly touching look at grief and self-acceptance, elevated by strong performances and a unique storytelling approach. Whishaw and Bailey bring their characters to life with depth and authenticity, making every interaction meaningful. The film never tries too hard to make a statement—it simply tells a story in a way that feels honest, letting its humor and heart blend naturally. It is a short but powerful experience, proving that sometimes the most unexpected journeys are the ones that stay with you the longest.

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[photo courtesy of 130 ELEKTRA FILMS, A MARLOW'S PRODUCTION]

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