The Good Son

The Good Son follows fledgling actress Leila (Elina Knihtilä) as she and her two sons, teenager Ilmari (Samuli Niittymäki) and adolescent Unto (Eetu Julin), arrive at a beachfront property to spend time with friends and relax, with the film subsequently revolving around the conflict that arises after Leila engages in a romantic relationship with a former colleague (Eero Aho’s Aimo). Filmmaker Zaida Bergroth has infused The Good Son with a naturalistic feel that’s reflected in everything from the authentic performances to the uneventful narrative, although, as becomes clear almost immediately, Bergroth’s pervasively low-key sensibilities ensure that the movie is rarely as engrossing or even entertaining as one might’ve hoped. Bergroth’s decision to stress the central characters’ day-to-day exploits (eg a party that just seems to go on forever) ultimately proves disastrous, as one inevitably can’t help but wish that the filmmaker had infused The Good Son with a more substantive vibe (ie the viewer is all too often left wishing that Bergroth would just cut to the chase already). It’s worth noting, however, that the movie never quite morphs into the art-house disaster it often threatens to, as Bergroth effectively peppers the proceedings with a number of overtly ominous sequences (ie it becomes clear early on that Ilmari possesses decidedly sociopathic tendencies). As such, The Good Son does improve a fair amount as it progresses, with the predictably violent finale injecting the otherwise sedate proceedings with a jolt of life and energy. It’s a little too late to wholeheartedly care by that point, however, and it’s ultimately clear that the salacious premise is at odds with Bergroth’s subdued modus operandi.

** out of ****