Boar follows the Monroe family during a visit to the Australian outback. Bruce, Debbie, their children Bart and Ella, and Ella’s boyfriend Robert travel to Debbie’s brother Bernie. A huge wild boar leaves a trail of dead animals and people before it reaches the family. The group must cross the bush and find a way to survive the animal’s attacks. The tone is bloody, rough, and often funny, with the giant pig as the film’s main threat.
The story centers on family loyalty, local friendship, and the fight to protect loved ones. Bernie uses a rifle to defend the family, while Sasha searches for her missing father and joins the rescue. Debbie and Sasha help end the attack after the boar wounds several men and women. One pub joke gives free drinks to black customers and charges white customers double, but the line is brief and the film quickly returns to survival, fear, rough jokes, and graphic deaths.
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Was our 15% Woke rating accurate?
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Breakdown
These are the editorial factors and ratings behind our score for Boar.
Woke representation / casting
Not present. The cast shows an Australian family, local townspeople, and travelers in a modern Australian setting. Women and men both take part in the fight, but the film does not frame the casting as a diversity or gender statement.
0%
Woke political dialogue
A pub joke says that black customers get free drinks while white customers pay double. The line makes race the subject of a short exchange. The film does not return to that idea or use it to guide the plot.
22%
Identity-driven story themes
A brief pub joke gives different treatment to black and white customers. The joke adds a small identity-based idea to the film. The main story stays focused on a family surviving a giant animal.
10%
Western institutional / cultural critique
Not present. The film includes ordinary talk about a bank, a drought, and city people, but it does not turn those complaints into a modern activist attack on capitalism or Western institutions. The main conflict comes from a giant animal.
0%
Woke character or canon changes
Not relevant. The film is an original creature feature about a giant boar rather than a new version of an established character or real event. Its plot changes do not involve race, gender, sexuality, or identity.
0%
Anti-woke backlash and complaints
Not present. The separate X pass found no anti-woke reaction. Web and audience discussion focused on gore, pacing, acting, and the practical boar, not woke or DEI messaging.
0%
Creator track record context
Chris Sun and Kirsty Dallas are presented as horror-focused creators with no strong activist record. A few producers have limited work about culture or social issues, including a documentary about Peter Tatchell and an early short about multicultural conflict. The larger group has no clear recurring identity-driven pattern.
5%
Production
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