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Jan Komasa’s Good Boy turns a familiar captivity setup into a story about the violence hidden inside the promise to make someone “good.” Stephen Graham and Andrea Riseborough play a couple who imprison 19-year-old Tommy, played by Anson Boon, and call their attempt to change him rehabilitation. The film’s most compelling idea is that control can dress itself up as care; its weakness is that provocation sometimes does more work than psychological depth.
What is Good Boy about?
In the BFI London Film Festival’s 2025 programme, Good Boy is listed as a 110-minute Poland-UK film directed by Jan Komasa. Its official synopsis describes a young man pulled into a dysfunctional family and forced to change his behaviour to become a “good boy.” Screen Daily’s review supplies the harsher detail: Tommy is 19, held in a country-house cellar with a metal collar around his neck by a couple who present their actions as rehabilitation.
That contradiction is the film’s engine. The captors’ language offers a tidy moral explanation for an act of coercion: Tommy is supposedly being helped, so the people holding him can imagine themselves as benevolent. Komasa makes that premise unsettling less by disguising the cruelty than by making the idea of “improvement” itself feel suspect when it is imposed by force.
Does the thriller earn its psychological tension?
The film works best when it keeps attention on the imbalance of power. Tommy has been confined, but the couple’s domestic world gives his captivity an unnervingly ordinary frame. Their project is not simply to restrain him; it is to define the terms on which he might be considered changed. That turns the central question from whether Tommy can escape into something more morally tangled: what would change mean if it were extracted from him?
#1 Best Overall
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Komasa leans into that discomfort rather than pursuing a strictly realistic account of captivity. Screen Daily described the result as an “off-kilter tale of rage, rehabilitation and redemption”; The Guardian called it an “absurdist nightmare.” Those critical descriptions capture the film’s mixture of menace and grotesquerie. For this viewer, the tonal instability is both its signature and its limitation: dark absurdity can expose the captors’ self-justification, but it can also make the people in the story feel like instruments of an idea rather than fully legible human beings.
How do Stephen Graham, Andrea Riseborough and Anson Boon perform?
Graham and Riseborough give the couple a forceful presence, while Boon has the difficult task of making Tommy more than the object of their scheme. Screen Daily praised all three performances. Their casting helps sustain the film’s uneasy shifts between domestic routine and threat: the story depends on the gap between what the couple say they are doing and what their actions mean to the person they control.
Rank #2
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Yet the premise keeps the emotional balance tilted. Tommy’s choices matter, but the film’s provocative setup can leave his inner life less clearly developed than the coercive system surrounding him. That makes the moral ambiguity feel deliberately unstable; it also means the film does not always make Tommy’s development as convincing as its central question deserves.
Is Good Boy a sequel to Adolescence?
No. Good Boy is a separate film, not a sequel or story continuation of the Netflix series Adolescence. The connection is Graham’s career: Screen Daily noted that he followed the series with this film, and both projects involve troubled young men and dysfunctional families. That makes the comparison useful as context for the kinds of roles and themes surrounding Graham, but it does not establish a narrative link between the works.
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Is Good Boy worth watching?
For viewers drawn to morally abrasive thrillers, Komasa’s film has a sharp central provocation and performers capable of giving its domestic menace weight. It is less satisfying when its shifts into absurdity loosen the psychological grip or when Tommy’s transformation seems less fully earned than the premise demands. The BFI London Film Festival listing calls it a “dark, gripping and twisted thriller”; my assessment is more divided: it has plenty of bark, but its bite is blunted whenever the shock of the setup outruns the character work.
This is the 2025 LFF feature starring Graham, Riseborough and Boon—not the separate dog-centred horror film also released under the title Good Boy.
Quick Recap
Best Value
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Rank #4
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