{"id":771,"date":"2026-07-02T06:11:14","date_gmt":"2026-07-02T06:11:14","guid":{"rendered":"https:\/\/nationallogisticspost.com\/?p=771"},"modified":"2026-07-02T06:11:14","modified_gmt":"2026-07-02T06:11:14","slug":"citizen-vigilante-europes-first-migrant-backlash-movie","status":"publish","type":"post","link":"https:\/\/nationallogisticspost.com\/?p=771","title":{"rendered":"Citizen Vigilante<\/i>, Europe\u2019s First Migrant Backlash Movie"},"content":{"rendered":"
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F<\/span>or all its B-movie trappings, Citizen Vigilante<\/em> is the first of its kind: a film that sees the migrant crisis in Europe as a crisis for Europeans. It is politically incorrect in the most provocative sense, and as such, was probably destined to be made by two people (director Uwe Boll and actor Armie Hammer) who have been routinely dragged through the mud and probably feel like they have nothing left to lose.<\/p>\n

Read more The Spectacle Ep. 437: Citizen Vigilante Is A Messy Movie You Want To Watch<\/a><\/p>\n

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\u201cTo the thousands of rape and murder victims in Europe who were betrayed by our legal system.\u201d<\/p>\n<\/blockquote>\n<\/div>\n

If the oft-ridiculed Boll and the scandal-plagued Hammer are both at a point where they have stopped caring what people think of them, then the strident tone of Citizen Vigilante<\/em> reflects a growing outrage many people are feeling with regard to the migrant situation in Europe. The film is unambiguous in the way it opens with the superimposed location title \u201cEUROPE\u201d and closes with the stark dedication: \u201cTo the thousands of rape and murder victims in Europe who were betrayed by our legal system.\u201d\u00a0(RELATED: The Unfathomable Horror of Britain\u2019s Rape-Gang Holocaust)<\/strong><\/p>\n

This is an exploitation film with its blood boiling. Europe is presented as being in a state of anarcho-tyranny, with Hammer\u2019s stock vigilante the embodiment of the right-wing id, cleaning things up from the street to the institutional level. Eye for an eye and tooth for a tooth, it is a civilizational wake-up call that is neither subtle nor especially well made, but this is beside the point. The question that needs to be asked is whether or not the film is dishonest or irresponsible. (RELATED: <\/strong>Five Quick Things: Henry Nowak, the Inevitable British Civil War, and What It Means for Us<\/strong>)<\/strong><\/p>\n

Unfortunately for its detractors, of which there will be many, the various crimes and indignities in the film have plenty of real-world parallels. From the shocking public attack that begins the story, to the culturally rationalized sexual violence, to the judge showing leniency in the name of racial inclusivity \u2014 these are no mere inventions. Viewers who are scandalized by such depictions might find themselves in the unenviable position of having to deny or explain away some rather unpleasant demographic realities.\u00a0(RELATED: On Belfast)<\/strong><\/p>\n

Read more Socializing and Longevity: Does Online Count?<\/a><\/p>\n

These things are either happening or they are not, and an appraisal of the likes from In Review Online that describes the film as \u201cracist, xenophobic, ethnocentrist\u201d is simply not good enough in an era where those terms have been weaponized. But a film can highlight things that are actually happening in the world and still be irresponsible. There is a case to be made that Citizen Vigilante<\/em> is so maximalist in its presentation, so damning of the security state\u2019s failure in defending its native citizens, that it might be perceived as a clarion call.<\/p>\n

Even if this particular point were conceded, we would still be left to contend with the uneasy territory of vigilante cinema in general. Might the issue simply be that the targets of the vigilantism in Citizen Vigilante<\/em> are considered an ideologically protected class? This hardly seems fair when we look at the blood-soaked genre\u2019s astronomical body count. And is it really possible to expect the migrant phenomenon in Europe to be treated in cinema as a de facto moral good forever, as it is in Ken Loach\u2019s desperately compassionate The Old Oak<\/em> or Jacques Audiard\u2019s France-blind Dheepan<\/em>?<\/p>\n

Similarly skewed is Remi Weekes\u2019 His House<\/em>, the pro-migration film about a Sudanese couple trying to settle in England. In one scene, a young English doctor is politely trying to help the Sudanese woman but becomes increasingly uncomfortable with her problems and foreign customs, symbolized by the tribal scarring on the woman\u2019s body. The scene is meant to say something profound about the incommunicability of the trauma of \u201cthe Other,\u201d but there is empathetic potential for another film hiding within the film, that of the fatigued English public sector worker expected to deal with all of this.<\/p>\n

If we are used to movies showing us multiculturalism as a moral good, Citizen Vigilante<\/em> dares to say it can also be viewed as a moral failing. Perhaps the solution is to reach a stalemate and for all political sides to agree to stop making films about the migrant issue. We can have a cinematic world populated exclusively by the inoffensive dance routines of Fred Astaire and Ginger Rogers, or the physical comedy of Buster Keaton. This would not be a bad world to live in. But if we cannot do this, then some people might have to get used to a film like Citizen Vigilante<\/em> and the shoe occasionally being on the other foot.<\/p>\n

Read more The Democratic Socialist Wave Moves West<\/a><\/p>\n

READ MORE from Robert Cairns:<\/strong><\/p>\n

A House of Dynamite<\/i>\u00a0Makes the Case for More Dynamite<\/strong><\/p>\n

Is This Really the Time for Hollywood Revolutionary Chic?<\/strong><\/p>\n

READ MORE:<\/strong><\/p>\n

Young Washington<\/i>: No Cherry Tree Required<\/strong><\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

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