Film Review: Good Boy (2025) – A Haunting Psychological Thriller from South Korea
In 2025, South Korea continues to assert its dominance in the psychological thriller genre with Good Boy, a chilling, deeply unsettling, and emotionally resonant film that blurs the lines between innocence and evil. Directed by the visionary Jung Ji-woo, known for his bold exploration of morality and human weakness, Good Boy unravels a story of psychological trauma, justice, and duality in a society that often turns a blind eye to hidden pain.
At the center of the story is Ji-hoon, portrayed with extraordinary nuance by rising actor Nam Yoon-su. Ji-hoon is the textbook definition of a model citizen—soft-spoken, polite, and known for volunteering at an animal shelter. But beneath his gentle smile lies a fractured psyche shaped by years of abuse, neglect, and suppression. The title, Good Boy, plays ironically with his character: a young man praised for his docility, yet pushed to the brink of madness by a system that praises obedience and punishes emotional expression.
As a string of mysterious assaults targeting known abusers and criminals begins to surface, Ji-hoon's carefully maintained façade begins to crumble. Viewers are drawn into his fragmented mind, where reality and delusion intertwine. Is he enacting justice, or merely losing his grip on sanity? His transformation from a passive victim to a dangerous avenger is gradual, disturbing, and at times heartbreakingly sympathetic.
Kim Hye-soo plays Detective Seo Hwa-jin, a hardened investigator assigned to the case. Her dynamic with Ji-hoon serves as the emotional spine of the film. As she grows increasingly suspicious of him, she also sees traces of her own broken past in his behavior, making the investigation as much about uncovering truth as it is about confronting personal demons. Meanwhile, Park Ji-hu delivers a standout performance as Soo-yeon, Ji-hoon's only confidante—an empathetic classmate who senses his suffering but doesn’t realize the depth of his darkness.
Visually, Good Boy is a masterclass in atmosphere. Cinematographer Lee Mo-gae uses sterile interiors, dim urban landscapes, and claustrophobic close-ups to mirror Ji-hoon’s mental confinement. The score by Jung Se-rin is equally effective, shifting from melancholic piano to discordant strings as Ji-hoon's inner turmoil escalates. The tension builds slowly but relentlessly, culminating in a final act that is both shocking and tragically poetic.
What sets Good Boy apart is its refusal to offer easy answers. It doesn’t glamorize violence or excuse Ji-hoon’s actions, but it forces the audience to question how society contributes to the creation of such monsters. The film raises difficult questions about the justice system, mental health, and the true nature of kindness. Is Ji-hoon a hero, a villain, or merely a reflection of what we choose to ignore?
Good Boy is more than a thriller—it’s a moral puzzle wrapped in a psychological drama. With strong performances, a razor-sharp script, and emotionally devastating turns, it stands as one of the most powerful Korean films in recent memory.
Verdict:
★ ★ ★ ★ ★ (5/5)
Good Boy is a masterfully crafted descent into darkness, presenting a layered portrait of a young man trapped between societal expectations and suppressed rage. Bold, haunting, and deeply human—it’s a must-watch film that lingers long after the final scene.
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