A wee bit woke, but but only on the assassin's 'feels' front.

Action, fights, and a gaggle of assassins trying to kill each other, in a locked 'room', er 'train. The sole 'woke' aspect - could be considered 'parody' - was the supah woo-woo/neurotic lead assassin, 'Ladybug'. Fun, if silly.

Entertaining tropie body horror. The villian is a seriously evil irredeemable dude (heh, a pretty solid variant of "Patrick Bateman"), that leads everyone to root for his downfall. The story arc largely comes down to a standard kidnapping/trafficking story, with a demented twist. Heh, sort of a cleaned up/feminist descendant of 'Texas Chainsaw', without the gore, and a much cleaner and organized household.

I don't think this one's so much, 'woke', as strongly feminist oriented, as would have been common in flix from the 80s or 90s: There's definitely an, 'All Men are Animals', vibe. The women are victims (of said men, until the final act), and all the men are universally "unworthy" (early on, on the dating front), and either, "weak" (the guy that rides up to save the day, but just drives away at the first sign of risk), or psychotic perpetrators & "the customers". Anyway, there's not a lot that hasn't been done a dozen times before here, but it's an interesting ride, with a satisfying conclusion.

Unwoke, jerk-a-minute

2017-vintage, hilariously written abuse-a-minute fest, from Peter Farrelly ('Something About Mary', 'King Pin', 'Dumb & Dummer', 'Me Myself & Irene'; more recently 'Lucky Hank' (TV) & 'Green Book').

Sam Loudermilk (Ron Livingston) is a loud mouth, sharp-as-a-whip AA counselor/custodian/misanthrope, who's failing his way to surliness, one step at a time, trailing his shrinking circle of friends, and weekly AA group of broken folk, in his wake.

I'm midway through Season 2, and enjoying the heck out of it.

Woke-o-meter:negative numbers. This one's actually old-school _Politically Incorrect_. [lmao].

Solid period suspense/crazy/horror, prequal to 2022's 'X' (Mia Goth shifts to the old lady character, 'Pearl', doing her origin story; same farm setting, back in the day). Fairly limited gore - though there are more than a couple 'ouch' shots. Entertaining, and Mia chews *rafts* of scenery cranking up the "nuts". Woke-o-meter: zero.

Coulda been so much better

Premise is great: What really happened in that lightly roughed in chapter of log entries from Bram Stoker's 'Dracula'?

Instead of doing a solid job of exploring the concept - think Dan Simmons' period-perfect envisioning of the fate of the lost Franklin Expedition of 1849, in 'The Terror' - what you get instead is yet another half-baked "re-imagining" of the material. It's a brittle house of cards built on characters that not only don't exist in the book, but are wildly out of place in the setting - a merchant ship at sea - and period of English history. Just weak wish-fulfillment. Meh.