Good Boy

Tommy is nineteen and thoroughly insufferable — drugs, parties, violence, the whole self-destructive circuit — and the film spends its opening stretch letting you feel that before pulling the floor away. Separated from his friends on a drunken bender, he wakes up imprisoned in the basement of a remote Yorkshire house occupied by a very strange family. The setup reads as straight captivity horror, but the premise is explicit that what follows is not what Tommy could possibly expect, and the whole thing seems engineered around that swerve.

This suits viewers who like British genre cinema with grubby texture and a moral streak running under the nastiness. At a hundred and ten minutes it has room to let the house and its inhabitants get properly odd before anything resolves, so expect atmosphere and character friction alongside the threat. Recommended for anyone who enjoys horror that treats a bad protagonist as a question rather than a punchline.