Who’s a Good Boy?: Awkward humor with heartfelt moments.

The moment Chema, our socially awkward protagonist in Who’s a Good Boy?, stands half-naked in Claudia’s bedroom, his face contorted in sheer panic, is the film’s most telling scene. It encapsulates the essence of Ihtzi Hurtado’s sex comedy: cringe-inducing, uneven, but occasionally sharp. This snapshot of teenage anxiety and misguided bravado sets the tone for a film that oscillates between raunchy humor and genuine emotional resonance.

Hurtado’s debut feature is a raucous take on teenage sexuality, following Chema (Sebastian Dante), an anxious virgin desperate to lose his innocence before high school graduation. With the help of his uncles and a series of disastrous encounters, he navigates the treacherous waters of dating, friendship, and self-discovery. The film is packed with raunchy humor, from Chema’s failed pick-up lines to his chaotic attempts at seduction, but it struggles to find a consistent tone.

The narrative structure of Who’s a Good Boy? is reminiscent of classic coming-of-age comedies like American Pie and Superbad, but Hurtado infuses it with a distinctly Mexican flavor. The film’s exploration of friendship, love, and intimacy resonates with universal themes, making it relatable to a broad audience. However, the plot meanders at times, struggling to maintain momentum. The pacing issues are compounded by an over-reliance on clichés, from the “popular girl who plays with emotions” trope to the abrupt resolution of Chema and Eli’s (Luisa Guzmán Quintero) relationship.

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Where Who’s a Good Boy? excels is in its performances. Sebastian Dante carries the film with his physical comedy and expressive facial reactions, making Chema both pitiable and endearing. Dante’s portrayal of Chema’s anxiety and desperation is nuanced, allowing the audience to empathize with his character despite his often foolish decisions. Sirena Ortiz as Claudia brings an unexpected depth to her character, balancing flirtation and emotional manipulation with nuance. Ortiz’s performance adds layers to Claudia, making her more than just a one-dimensional love interest.

Adrian Vazquez shines as Jaime, Chema’s uncle, delivering some of the film’s best lines with deadpan humor. Vazquez’s chemistry with Dante is palpable, adding a layer of warmth and authenticity to their on-screen relationship. The dynamic between Chema and his friends, particularly Eli and Hugo (Diego Meléndez), is another highlight. The camaraderie among the characters feels genuine, grounding the film in a sense of realism that balances its more absurd moments.

The script, however, is a mixed bag. Hurtado has a knack for visceral comedy—Chema’s panic attack in Claudia’s bedroom is genuinely funny—but the plot meanders at times, struggling to maintain momentum. The pacing issues are compounded by an over-reliance on clichés, from the “popular girl who plays with emotions” trope to the abrupt resolution of Chema and Eli’s relationship. The film’s second act feels particularly uneven, with several subplots vying for attention but none receiving sufficient development.

Visually, Hurtado employs a handheld camera style that adds to the film’s chaotic energy but occasionally feels too shaky for its own good. The cinematography struggles to find a balance between realism and comedy, often settling for a frenetic aesthetic that can be disorienting. The use of close-ups during Chema’s more anxious moments is effective, emphasizing his internal turmoil, but the frequent cuts and rapid pacing make it difficult to fully appreciate the film’s visual storytelling.

The film’s strongest moments come from its exploration of friendship and self-acceptance. Chema’s journey towards embracing his passion for music over engineering is heartfelt, even if it feels rushed in the final act. The resolution with Claudia, where he finally asserts his boundaries, is satisfying but undercut by the abrupt shift into a romantic subplot with Eli. The film’s climax, set during the Las Posadas celebration, is a high point, combining humor and emotional depth as Chema confronts his fears and insecurities.

Who’s a Good Boy? is a flawed but ambitious debut that showcases Hurtado’s potential as a comedian. It’s a film that stumbles but occasionally soars, held together by strong performances and moments of genuine wit. The film’s exploration of teenage sexuality and self-discovery is timely and relevant, resonating with audiences who have experienced the trials and tribulations of young adulthood.

The film’s target audience is clear: young adults and teenagers navigating the complexities of relationships and identity. However, its broad appeal extends to older viewers who can appreciate the nostalgic humor and relatable themes. The film’s Netflix release ensures a wide reach, allowing it to connect with a global audience.

In comparison to other coming-of-age comedies, Who’s a Good Boy? holds its own but lacks the polished execution of films like Superbad or Booksmart. Hurtado’s unique perspective and cultural context set it apart, but the film’s pacing and narrative structure could benefit from tighter editing. The humor is often hit-or-miss, with some jokes landing perfectly while others fall flat.

Ultimately, Who’s a Good Boy? is a film that will resonate with those who enjoy raunchy comedy and relatable coming-of-age stories.

Cast

Photos: The Movie Database (TMDB)

Tags: Netflix, comedies, Ihtzi Hurtado, Luisa Guzmán Quintero, Sebastian Dante, Sirena Ortiz

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