Good Boy (2022)

Two Norwegian basic bitches go on a Tinder date and apparently like each other, despite neither of them having any semblance of a personality. The girl goes home with the guy, and they meaninglessly small-talk their way into bed.

In the morning, the girl meets the guy's dog, which is a dude in a poorly-fitting dog suit. Now, I think it is weird to spend an entire night in a guy's home knowing that he has a dog and never seeing said dog, but apparently she doesn't. She does, however, think it's weird to have a pet guy-in-a-dog-suit. She's probably right about that.

She goes home to tell her roommate how the one-night-stand was ruined by moderate-to-severe psychotic behavior, and the roommate informs her that her date is actually quite rich. This changes the calculus a bit, and they spend the evening watching YouTube videos about puppy play.

She follows up with immediate second, third, and fourth dates with the guy, now accepting the mute guy-in-a-dog-suit without complaint. She pets his fursuit and he fake barks. It's all sped along and underdeveloped so they can quickly get us to the guy inviting her to a weekend getaway at his "cabin" (actually just a regular suburban house?). She's known him and his unexplained fetish companion for all of four days, and enthusiastically agrees.

Upon arrival, she agrees to a no-phone weekend, and he locks their phones away in an unseen hiding spot. It's about this time that the brrrmmmmmmzmzzzzzzzzzzt standard 2020s-horror synth soundtrack kicks in, the guy in the dog suit breaks character for the first time, and, in the film's only moment of real acting, implores her to save herself with a wild-eyed look of terror. She doesn't like that.

The dog goes back into character, and she spends some time trying to get her phone back, to no avail. She does manage to take the dog out on a walk, where he explains to her that they are in grave danger, running is not an option, and they must kill the guy. It's about this time that any remaining logical cohesion drops away, as does general filmmaking ability. Why can't they run to safety, in this generic Norwegian suburb? No attempt is made to justify it, and they both just accept it as ground truth.

So they return to the house for some poorly written backs-and-forths before the rich guy snaps and locks them both in his torture dungeon, where he fake shouts in that way that student-actor-who-doesn't-want-to-yell-for-real sort of way, and bangs things with a baseball bat in that very-obvious-not-actually-hitting-with-force sort of way, because the shitty little 1mm wire cages that they're "restrained" in would obviously blow apart if he actually hit them. Or if they struggled even the slightest bit, so they don't do that.

She escapes into the wilderness of the… uh… Norwegian suburb. She runs for all of twenty seconds before sitting down in the grass to cry for a bit, and then… yeah, fuck it, she just goes back. On her own accord, for no reason, without getting help first. So he wangs her over the head and she becomes his new slave dog, and there really is no explanation for why either dog stays in this incompetent captivity, nor why her roommate, who fully knows the boyfriend's identity with name and photograph and all, doesn't tell anybody that she has permanently disappeared.