Boar (2018)

Boar is the kind of unapologetic creature feature that remembers why we go to the movies for monsters in the first place: to feel the ground shake, to wince, and to laugh in disbelief at the sheer audacity of it all. Chris Sun drops you into the sunburnt menace of the Australian outback, where the setting isn’t just scenery—it’s a wide-open arena that makes every chase and ambush feel nastier, louder, and more primal. The film’s practical effects and gloriously excessive gore give the beast real weight, and the cast (with John Jarratt bringing gravelly authority) sells the panic without winking too hard at the camera. If you don’t enjoy splattery B-movie energy and strong language, this won’t convert you—but if you do, it’s a rowdy, blood-soaked good time that knows exactly what it is and delivers.

Boar wants to be a throwback creature-feature: big, nasty, unapologetically Australian, and mostly interested in racking up brutal kills rather than telling a deep story. When it leans on practical gore and outback atmosphere, it’s enjoyably grimy and occasionally tense, with John Jarratt adding some weathered genre credibility. But the film’s thin, familiar plot, sketchy characters, and stop-start pacing make it hard to care who’s getting chased, and the attempts at humor and broad performances can feel tonally off. If you’re here for a no-frills, splattery monster rampage you’ll get your money’s worth, but if you need suspense, believable CGI, or characters you can invest in, this one will likely wear out its welcome.