Stephen Graham, the Emmy-winning force behind gritty masterpieces like The Virtues and Time, has shattered expectations once more with Good Boy, a psychological thriller that’s already being touted as “a modern masterpiece” and his most terrifying role to date. Premiering at the Toronto International Film Festival on September 5, 2025, and set for a limited theatrical release on March 6, 2026, followed by streaming on Prime Video, the film marks Graham’s plunge into uncharted darkness. Fresh off his Emmy sweep for The Adolescence, where he portrayed a fractured father with harrowing authenticity, Graham transforms into Chris, a well-meaning suburban dad whose “act of salvation” spirals into a claustrophobic nightmare of obsession and moral decay.
Directed by Polish visionary Jan Komasa (Corpus Christi), Good Boy is a taut, 110-minute descent into the blurred lines between altruism and atrocity. The story centers on Chris, a seemingly ordinary family man convinced he’s found a way to “fix” society’s broken youth. When he encounters Tommy (Anson Boon from Babylon), a 19-year-old hooligan mired in drugs, violence, and despair, Chris takes drastic measures: kidnapping the teen and chaining him in his basement for a twisted rehabilitation. What begins as misguided tough love unravels into a harrowing exploration of control, guilt, and the fragility of the human psyche, as Chris’s wife (Andrea Riseborough) and young son grapple with the horror unfolding beneath their feet.
Graham’s Chris is a revelation—a performance so raw and unsettling it lingers like a bad dream. Gone is the relatable everyman of This Is England; in his place is a monster born of good intentions, his Scouse growl twisting from paternal warmth to chilling menace. “Stephen captures that terrifying banality of evil—the everyday man who justifies the unthinkable,” Komasa told Collider at TIFF. Graham, drawing from real-life vigilante stories and his own brushes with addiction in Liverpool’s underbelly, delivers lines like “I’m saving you from yourself” with a quiet intensity that chills to the bone. Critics rave: The Guardian calls it “Graham’s most disturbing work since Help—a slow-burn gut-punch that questions our savior complexes.”
Boon’s Tommy is a firecracker of defiance, his feral energy clashing with Riseborough’s subtle unraveling as the complicit mother. Kit Rakusen shines as the innocent son, whose wide-eyed confusion heightens the domestic horror. Shot in Manchester’s gray sprawl and suffocating basements, the film’s cinematography by Michał Dymek evokes a vise tightening around the soul, while the score—a dissonant hum of strings and whispers—amplifies the paranoia.
At TIFF, Good Boy earned a standing ovation and buzz for awards season, with a 92% Rotten Tomatoes score from early reviews. Variety hails it as “a provocative mirror to our vigilante age,” probing timely themes like the failures of social services and the allure of DIY justice. Fans on X are obsessed: “Graham as a basement savior? Nightmares for weeks—masterpiece!”
Good Boy isn’t just a thriller; it’s a moral scalpel, dissecting the darkness in good intentions. As Chris’s “rescue” devolves into madness, Graham reminds us: sometimes, the scariest monsters wear the face of a father. Stream it March 2026— if you dare.
