2025 BFI London Film Festival Review – Good Boy

      **Good Boy, 2025.**

      Directed by Jan Komasa

      Starring Stephen Graham, Andrea Riseborough, and Anson Boon.

      **SYNOPSIS:**

      Nineteen-year-old Tommy leads a chaotic life filled with crime until he is abducted by a stranger. He soon becomes ensnared in a dysfunctional family environment, where he must alter his behavior to transform into a ‘good boy’.

      Jan Komasa's *Good Boy* exemplifies the value of entering a story with minimal knowledge of the dark places it will take you. This allows the audience to experience the shock, disgust, confusion, and unease that parallels the journey of the main character. I hesitate to call Anson Boon's Tommy a protagonist, as that term usually implies someone deserving of support or admiration, and very little about Tommy fits that description.

      He is a bothersome, annoying, toxic individual with no self-esteem or respect for the society through which he spreads his bitterness, often broadcasting his deeds on social media. His actions range from petty bullying to physical and verbal abuse, which catches the attention of the mild-mannered family man Chris. In a twisted effort at extensive social rehabilitation reminiscent of *A Clockwork Orange*, Chris dons his toupee and decides to intervene in Tommy's life.

      Revealing much more about the plot would diminish the unsettling nature of the story's progression, but categorizing *Good Boy* as just another captivity film would not do it justice. The chains, pulleys, moonlit dances, and Ken Loach movie nights are merely the beginning of this dark narrative.

      One of the film's significant strengths lies in the way the script and performances challenge your initial perceptions of its characters. During the opening montage, where Tommy embodies unfettered vulgarity, you won't find yourself cheering for his escape from captivity. In fact, part of you might even reason that the strange Chris’s actions could lead to Tommy’s improvement as a person. This situation recalls the *Thanos conundrum*, where you might see some twisted rationale behind the villain's actions.

      As the antagonist, Stephen Graham shines. Channeling Kathy Bates’ Annie Wilkes, he provides a performance that can shift from charming to chilling instantaneously, keeping you on edge about whether he’ll offer wisdom or punishment. He balances charm and menace expertly. Anson Boon (Pistol) matches him in intensity as Tommy, presenting a multifaceted representation of youth’s irresponsibility. Viewers will grapple with their moral compass regarding his ‘rehabilitation’; just when the chance for redemption seems to arise, the slightest hint of a smile from Tommy will cast doubt on that notion, leaving the audience questioning their allegiance.

      Andrea Riseborough also showcases her unique skills as the enigmatic matriarch. She floats into the narrative like a somber spirit, seemingly burdened by undisclosed secrets. Her inscrutable dark eyes and increasing presence only serve to enhance the audience's discomfort.

      Despite the film's ambiguity and the ambiguity surrounding right and wrong, it's disappointing that *Good Boy* lacks the resolve to clarify its stance on the characters. Ambiguity can be effective, but the messaging is muddled. The film feels like it presents several endings that feel stitched together, with the final moments feeling like an easy way out after all that has transpired.

      Nonetheless, *Good Boy* remains darkly engaging and filled with twists, with Stephen Graham excelling in yet another role that explores a different facet of adolescence.

      **Flickering Myth Rating:** Film ★ ★ ★ ★ / Movie ★ ★ ★

      Matt Rodgers – Follow me on Twitter