Tommy’s (Anson Boon) typical party night is reminiscent of the The Prodigy’s “Smack My Bitch Up” video. Totally high, he goes around with his clique ready to lay into anyone and has no plan beyond getting the next pill and maybe having a quickie in the bathroom. But then Tommy is knocked unconscious from behind and, upon waking, finds himself chained to a basement wall. His new host parents are the straitlaced couple Chris (Stephen Graham) and Kathryn (Andrea Riseborough) and they have a plan: turning the young hooligan into a respectable person, a GOOD BOY, with the help of video lectures, conversation, rewards, and also corporal punishment when necessary. Their son Jonathan is happy about the new playmate and it’s hinted that Tommy isn’t the couple’s first rehabilitation candidate and that the last attempt ended tragically. However, this time seems to be going better. Tommy develops in the desired direction and can soon explore the rest of the house, as far as his new chain allows.

Similar to the inspiration A CLOCKWORK ORANGE (1971), Jan Komasa (THE CHANGE) asks what “good“ behavior is worth if it’s created by force, but doesn’t have a firm position. Timmy is a horrid figure that you wouldn’t want to encounter in the beginning, but the domestic harmony of his host parents is filled with too much grief and pain to appear like a desirable ideal. Somewhere between social drama, horror film, and dark satire, the film suggests far more than it explicitly states, and shows compassion for both sides. The result is a compellingly presented discussion—one that should be continued long after the film ends.

Christian Klose (INDIEKINO MAGAZIN)

Translation: Elinor Lewy