With a reported budget of anywhere between $750,000 to $5 million, writer/director Uwe Boll’s subversive and sometimes brilliant Citizen Vigilante is already a roaring success on all fronts.
At the box office and through video-on-demand, since its June 19 release Citizen Vigilante has already grossed $67.3 million worldwide. It almost beat Supergirl’s pathetic $68 million global gross, and Supergirl is a $200 million movie with a promotion budget in the $100 million range.
Our pansy-ass and utterly useless critical class hate the movie. These people are so uniformly corrupt that, although the movie was available for free on X for a time, is widely available on pay-per-view, is making real money, and is part of the cultural zeitgeist, only five reviews have been posted at Rotten Tomatoes. Naturally, they are all pansy-ass reviews filled with the required outrage if you want to retain your pansy-ass status. But…
Normal People freaken love the movie. Citizen Vigilante has over 2500 reviews on the Popcornmeter from everyday folks, and those reviews have added up to an amazing 94 percent recommend rate.
The primary rollout plan for Citizen Vigilante was pay-per-view, and that’s where it is having its biggest impact and making serious money.
At Apple TV, Citizen Vigilante reached number two on the U.S. rental/purchase charts.
On Amazon, it hit number one.
Imagine how much better life would be for decent people all over the world if the left, corporate media, and Democrats were 1/10th as outraged over real-life migrant rapes and murders as they are over a vigilante movie.
My review is here, and the more I thought about the movie over the weekend (it really stayed with me), the more its brilliance stood out.
The Michael Sanders character, played so well by Armie Hammer, is not really a character at all, and that is by design. He’s not interested in our sympathy. He doesn’t do anything to try to make us like him. In screenplay parlance, that’s called “saving the cat.” And in a fascinating twist for a vigilante movie, Sanders is not a personal victim of migrant crime.
Instead, Sanders is a Message Machine of righteous anger, relentlessly spreading the message that Normal People need to wake up, stop being sheep, and put a stop to their government’s sociopathic crusade to replace them with Third World savages out to colonize Europe.
All Sanders does is monologue, then he does whatever is necessary to get his message across — even if that means proving his point by playing chicken with another automobile whose driver would rather die than illegally switch lanes.
Whether it’s something major, like a gang rape, or minor, like a tenant not opening a window to protect walls from mold, Michael Sanders will say or do something about what he sees as wrong even if no one else will.
It’s a truly original and fascinating approach to a genre that seemed to have long ago laid down all its cards.
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