A handsome millionaire, a luxurious estate, and a dark secret locked away. On NETFLIX, Gard Løkke delivers a spine-chilling performance as Christian, a man with a dark obsession. The shocking discovery made right after he silences Frank proves… that the “good boy” isn’t so innocent after all.

Gard Løkke, the rising Norwegian talent who has already charmed audiences with roles in Troll and the heartwarming Hjem til jul, now proves he is no one-trick pony. In Viljar Bøe’s blistering 2022 thriller Good Boy (also known as Me, You & Frank), Løkke takes the lead as Christian Iversen—a charismatic, ultra-wealthy heir who seems to have it all. But looks can be terrifyingly deceptive, and this film is the perfect example of how a killer premise plus a magnetic leading performance can turn a seemingly lighthearted story into something deeply unsettling.

The story begins innocently enough. Christian meets Sigrid (Katrine Lovise Øpstad Fredriksen) on a dating app and instantly charms her. Their chemistry is electric. When she agrees to spend the night at his sprawling, sunlit villa, she has no idea what she’s walking into. The “dog” she is introduced to in the morning isn’t a pet—it’s a grown man named Frank (Nicolai Narvesen Lied) wearing a full canine costume 24/7. He walks on all fours, eats from a dog bowl, and obeys every command with eerie obedience.

At first, Sigrid is horrified. But the more she learns about Christian, the more she pushes her own discomfort aside. It turns out he is not just a millionaire—he is the sole heir to an enormous fortune. Christian reassures her that Frank is a dear friend with a tragic backstory who simply finds comfort in the life he has built. He even invites Sigrid along for a weekend getaway to a remote cabin in the woods. For a moment, the three of them seem almost… happy. A perfect little family.

Then the masks begin to slip.

What starts as quirky role-play quickly reveals itself as something far darker. The film masterfully balances its early moments of awkward humor with creeping dread. The dog costume is physically uncomfortable—Frank never removes it—and the constant four-legged movement adds a layer of alienation that makes the entire household feel suffocating. Christian’s obsession with maintaining the facade becomes increasingly controlling. He records Frank’s conversations, manipulates situations, and demonstrates a chilling lack of empathy when anyone threatens his carefully constructed world.

The climax delivers one of the film’s most jaw-dropping scenes involving Frank’s desperate attempt to escape his cage and alert Sigrid to the truth. The moment Christian silences him—literally and figuratively—everything changes. What viewers (and Sigrid) discover in the aftermath is not just the extent of the abuse, but the terrifying depth of Christian’s psychological grip. Løkke’s performance here is devastating. In his quiet, seemingly calm moments, he exudes such genuine warmth and affection that the horror lands even harder. There is no cartoon villain; Christian is charming, attentive, and terrifyingly convincing. He genuinely believes he is helping Frank by keeping him “safe.” The audience realizes too late how completely he has turned love into a cage.

Good Boy runs a brisk 76 minutes, and that tight runtime is part of its brilliance. Every scene serves the escalating nightmare. Director Viljar Bøe (making his feature debut) and writer Bøe craft a story that feels both intimate and claustrophobic. The lush Norwegian countryside contrasts sharply with the decaying mansion interiors, creating a visual language of freedom versus entrapment. The use of the dog costume is brilliant practical effects work that never feels cheap; it forces the viewer to confront the dehumanizing nature of the situation from the ground level.

The film has been hailed as a modern horror-comedy that refuses easy categorization. It pokes fun at puppy play and furrie culture while delivering genuine scares. Many viewers have been left disturbed long after the credits, questioning their own comfort with “weird” relationships and how easily they might overlook red flags if the red flag-wearer is charming enough. That is the genius of Løkke’s central performance—he makes you root for Christian at first, even as something in the air feels wrong.

Gard Løkke has come a long way since his debut in De tøffeste gutta (2013). His natural screen presence, combined with the physical commitment required for this role, shows why he is being called “Norges kjekkeste mann” by fans online. In Good Boy, he proves he can carry a horror film with equal parts charisma and terror. The emotional core of the story—questions of consent, identity, and what we are willing to accept in the name of love—feels timely and universal.

If you are looking for a Netflix watch that starts cute and ends with you checking your own locks, Good Boy is perfect. It is not graphic horror, but the psychological terror lingers like a bad dream. The shocking revelation that follows Frank’s silencing is the kind of twist that makes you rewatch the entire film just to catch every tiny detail you missed the first time.

Løkke’s performance is the undeniable star. From the moment he smiles at Sigrid on that first date, you are hooked. By the time the cage scene arrives, your stomach will be in knots, and you will be left wondering: is Frank the real victim… or is Christian simply the most convincing liar in cinema history?