Metacritic reviews

The intense and fascinating vision and lens through which Guan Hu observes everything makes Black Dog unforgettable and haunting long after watching.

Written by Hu and longtime collaborator Rui Ge, it embraces the same premise of countless a noir before it: a lone drifter comes home to start afresh, only to face the ghosts of his troubled past. What’s sensational about Hu’s latest is the way it undercuts that dread to land on an engrossing note that rings wholly, convincingly earned.

Achieving a delicate balance between drama and deadpan comedy, Guan’s approach gives the scenes of violence or tragedy a certain antic, Buster Keaton quality, which is enhanced by both Peng’s impassive yet physically expressive performance, and that of his wonderful canine co-star.

At its heart, the film is really a classic story of redemption, taking lots of unexpected turns as it follows a down-and-out hero toward recovery.

The dog of the title – a sinewy, reputedly rabid greyhound mix – offers Lang a foil and a path to rediscovering his sense of self. Their snappy early encounters give way to a deepening bond; two solitary souls forming one of the most touching on-screen relationships of the year.

Its heartwarming aspect comes framed with real grandeur, and a stark absurdism and tightly wound sentimentality reminiscent at times of Takeshi Kitano.

Peng’s performance is physically rather than verbally expressive – he has barely more lines of dialogue than the dog – but Lang’s arc of redemption is explored with heart and humour.

Depending on how you look at it, Black Dog is either the most violently depraved feel-good animal movie in recent memory or the most wholesome neo-noir we’ve seen in a while.

Plotwise, the film is a little ragged, particularly in the third act, but star Eddie Peng is impressive.