1,584 words
This generation finally has its Death Wish.
Uwe Boll’s Citizen Vigilante, a film banned in Germany, is catching a lot of attention because it slides the curtain back on the human price which must be paid for third-world immigration. Technically, it’s a revenge fueled action-thriller, the kind which pits one exceptional man against a deep-seated, multifaceted evil. Imagine The Bourne Identity meets Taken, but with the ruthless intensity of The Dark Knight Returns comic book from the 1980s, all taking place in an unnamed European city rife with violent migrant crime.
These kinds of films are designed to separate you from your better nature, and then lure you and your id into a zone where you really, really want the bad guys to suffer and you really, really don’t want to leave. As far as these kinds of films go, Citizen Vigilante rates well enough above competent to be enjoyable. We have our fast cuts, impressionistic flashbacks, shaky cams, merciless violence, and excessive gore. The soundtrack rumbles and drones suspensefully. Lead actor Armie Hammer (as Michael Sanders the wealthy American landlord who moonlights as a vigilante) effectively embodies the kind of determined loathing one would feel if forced to clean out cesspools.
Overall, Citizen Vigilante is a respectable production—not quite visionary, but never once boring. Like many other films of its genre, it treats the audience to heapings of red meat inside an unreal yet pleasing comic-book reality, where one man—with enough determination and resources—can kill all the bad guys and actually make a difference in the world.
You can buy Spencer J. Quinn’s young adult novel The No College Club here.
What separates Citizen Vigilante from all films of its type produced since 1974’s Death Wish is that the evil it identifies could not be more real. The bad guys here are not some shadowy and easily fictionalized cartel of state-sponsored terrorists. Instead, they are twofold. They are the heavily armed policemen and swat teams bolstering the globalist system which encourages third-world immigration. Personifying this evil is Interpol Regional Chief Henry (played by a gruff, impassive Costas Mandylor). They are also the third-world immigrants themselves. If you’re looking for a body count of non-white migrant criminals finding justice at the hands of an angry white man, Citizen Vigilante is the place to go.
Comparing Citizen Vigilante to Death Wish is particularly interesting because despite their obvious similarities, these two films are quite different. Both films, of course, feature a more-or-less sympathetic vigilante as the main character. In the latter instance we have Paul Kersey, played famously by Charles Bronson. Both films also expose the racial elements of crime. And both films, to their credit, address the problem of crime without cynicism. Neither can be written off as an attempt at cashing in on a hot topic. Instead, Boll and Death Wish director Michael Winner ensure that the conflicts they depict in their films accurately reflect the real-life conflicts their audience will return to once their films end.
To illustrate their differences, however, imagine Death Wish as a boxer who tries to win on points. He is highly skilled but doesn’t hit very hard. On the other hand, Citizen Vigilante is a less skilled boxer who has dynamite in both hands. Every punch he throws is for the knockout.
Firstly, Death Wish has a real supporting cast. There is nothing like the atavistic, gun-toting Aimes Jainchill (played by Stuart Margolin) or the tubby New York detective Frank Ochoa (played by Vincent Gardenia) in Citizen Vigilante. Death Wish really whips up some local atmosphere, while Citizen Vigilante treats its picturesque European background like window dressing. Instead, it focuses on all the ways Michael Sanders can cinematically seethe. Much of the film’s dialogue is between him and Chief Henry, and very little of that is particularly memorable. It basically amounts to Sanders declaring war on behalf of the people and Henry affirming that he must maintain law and order.
Secondly, Death Wish presents various perspectives on crime and related issues, such as urban sprawl and the Second Amendment. Characters actually discuss these things and use real arguments back and forth. Where Chief Henry swings the hammer of the law like a villain, Ochoa actually struggles with the ethical dilemmas associated with vigilantism. There’s more nuance to Death Wish.
You can order Spencer J. Quinn;s Critical Daze here.
Finally, while hardly a masterpiece, Death Wish is technically the superior film. Its dialogue is less wooden, its script meanders less, and its story is more believable in a nuts-and-bolts kind of way. A real-life Paul Kersey could exist—at least for a little while. A real-life Michael Sanders, armed to the teeth and constantly keeping one step ahead of Interpol, could not. However, it must be said that while Citizen Vigilante takes few stylistic risks, it also makes few stylistic mistakes. The same cannot be said about Death Wish, which miscast a young Jeff Goldblum as a rapist and murderer and is sorely dated by Herbie Hancock’s jazzy modernist score.
Regardless, Citizen Vigilante bests Death Wish in the one category that matters: It doesn’t cuck.
Death Wish does depict black criminals running rampant on the streets of New York City; but funny that, half the criminals Kersey faces are white—he’s not a racist, after all. It’s as if the filmmakers wanted to portray black crime in Death Wish but then got the call from the money men in Hollywood telling them that such a project would be a little too real. So in order to get their film made, Winner and his producers forced their audience to pretend for 90 minutes that New York City was infested with as many white criminals as black ones. This is cucking even if it’s not as bad as it could have been. Death Wish is in many respects pro-white and deserves credit for depicting black crime at all. But still, it cucks.
Citizen Vigilante, on the other hand, does not cuck. Yes, Sanders thrashes three young punks—two white and one black—for causing mischief. But this is one of several examples of the script meandering. There’s nothing thematic about this encounter. When on point however Citizen Vigilante grabs onto its villains like a pitbull, and these villains are unmistakably white globalists and non-white migrants. And if you’re one of these people and you’re innocent, guess what? You’re not innocent. It’s not like there are good globalists and bad globalists. It’s not like Sanders is saving perfectly nice brown-skinned migrants from themselves. No, no. Sanders is like the Santa Claus of the Reconquista. He knows when you’re sleeping. He knows when you’re awake. He knows if you’ve been bad or good, but it doesn’t matter because he’s going to blow you away regardless.
And the ending. Oh, my God. To say any more would be to spoil an unforgettable ending.
You can buy Spencer Quinn’s novel White Like You here.
Citizen Vigilante is a historic film. It’s riding the rising tide of white awareness in European nations currently suffering from multi-racialism and unchecked third-world immigration. It points us to the true culprits—the governments which seek to control and the migrants who seek to invade, conquer, and destroy. Both have proven to be the enemy of the people, and Michael Sanders has placed himself on the front lines in their battle against them. And it is an uphill battle.
When visiting a rape victim in the hospital, he asks what justice would be for her. She says that the perpetrators should go prison for life. He responds that the trial will take years and cost a lot of money. She will have to testify and re-live what happened. People will call her a liar and worse. And after all that, the perpetrators may still walk free. Sanders again asks her if this is justice. Of course, she says no. Of course, this leads the viewer to one and only one possible solution to the acute problem of third-world immigration. And most gratifyingly, this is the very solution which Michael Sanders came to Europe to exact.
Intercut between scenes is pixelated footage of Sanders speaking to his many followers over the internet. These are some of the best parts of the movie. Here’s a taste:
I can’t sit here and watch you exist in a state of sleep paralysis anymore. The truth is this: You’re all being used. You’re nothing but playthings. Every soldier who’s gone off to war thinking that their death was for an idea, or that their sacrifice was important for society, has been played. . .
You walk down the street, and you get stabbed, or robbed, killed, and what does your country do? Nothing. And what do you do? Nothing? The universe demands balance.
In the end, pixelated Sanders tells the world:
I’m here to help you take that control back. I’m here to show you that you are no longer the victims. I’m here to show you that’s time to go out and show these fuckers that they aren’t getting away with it anymore. Remember: I do this for you. . . until you learn to do it for yourself.
This is nothing less than a call for revolution. A poignant, clear-eyed, resolute call for the European peoples to take back their nations from the invaders who wish to conquer and supplant them. And if this ever happens, people may very well look back at Citizen Vigilante as one of the most important films ever made.
48 comments
The wife and I watched this Sunday night. By no means is it anywhere near a great film. The lack of budget is plain to see, scenes drag on way too long, some of his encounters seem absolutely pointless(the hooker for example), etc. Nevertheless, this may be the most important film to come out in a while. The fact that this is available to stream on Amazon Prime shows how far we have come since St. Floyd of Fentanyl ascended to his throne and how there is a real appetite not only for this type of entertainment, but a real appetite among normies for something to finally be done about this atrocity being committed against our people and homelands.
Speaking of St. George, I got a kick out of his speech to the punks on the bus about the economic consequences of rampant stealing. “If you don’t pay your bus ticket… or steal a banana at the store… eventually the cost of everything goes up for everyone else.” I saw what you did there, Uwe.
Yes, the script did meander. Like also with those 2 guys slipping mickeys in their girl’s drinks. In some aspects the script left much to be desired. But Citizen Vigilante did come through when it counted, like no other film I have ever seen.
Since it’s topical I’d like to mention this amazing movie review website, it’s made for people just like us (I am not being paid to say this), it’s called: https://zgreviews.com/
It’s got diversity meters that you can filter by in advanced search (example 90%+white or exclude black as main actors), it has progressive filters such as LGBT, feminism, climate change agenda. You can also automatically filter out jewish film directors if you want to. You can also write reviews there with absolute freedom of speech, no restrictions.
Great article! I will look for the dvd. 🦈
Honestly, if we were to look at this movie objectively, we would give it a 5/10 for its production, scenes were way too long for what they show and uninteresting. The director made movies that consistently get 3 or 4/10. He also made anti-fascist movies such as Auschwitz. This movie promotes prostitution and the main character intentionally causes a traffic accident that kills an innocent person. Also 2 of the scenes deal with a group of 2 white and 1 black guy, the protagonist clearly kicks the white guy 3-4 times and the black guy only once. The main character also seems to have an alcohol problem. Portrayal of the enemy as merely criminal is also problematic, as it is not shown to be a civilizational threat – A White nationalist wants the immigrants framed as part of a broader demographic and cultural replacement. If they are only street thugs, the movie misses the larger existential point and reduces the conflict to petty crime. Also this movie suffers from its biggest problem, it is too boring to inspire political action and real positive change.
In one of the recent podcasts counter-currents made a comment of how we need to be more picky of our people and our message, that optics matter, we want to be the cool guys young people want to join, not to appear incompetent or be like the boring protestant churches that represented the American right wing for so long.
Points well made. I agree that the hooker scene was degenerate for its own sake and the car scene was a total what the fuck moment. As I said above, this movie is far from great, and had it not garnered so much attention for its handling of its subject matter, there’s not a chance in Hell I would’ve ever watched it. Hopefully this is just a baby step in the direction we need to get to. Uwe Boll today(laughable as that sounds), who knows who tomorrow.
I agree the film had a lot of problems. But in the end it specifically calls out migrant crime. “According to Europe’s criminal statistics, over 105,000 violent crimes were attributed to migrants last year, including 980 murders and over 18,000 reported cases of sexual assault involving immigrants from Africa.”
This is an important movie. And Sanders’ final statement, ‘I do this for you. . . until you learn to do it for yourself’ is nothing less than a call for revolt against globalism. Could it have gone further? Sure. But as far as I know, no film has ever gone as far as Citizen Vigilante when it comes to identifying the evils of mass immigration.
I agree. I watched it just now with my son. It was cheap and sloppy and unfortunately will be used by the establishment to say, yet again, how awful we are. I see this as the Taken (Liam Neeson) version of the alternative Superbowl halftime show. Our side lost the culture war in 1688. Modern culture is pop culture and I don’t think there can truly be a right-wing pop culture that doesn’t cede almost everything to the hedonistic hellhole of liberalism.
I really enjoyed the movie until the end when he said he was defending democracy. Democracy is not the solution and also needs to be destroyed. They’re many many people that should never vote. Entire groups of people. Starting with 51% of the population
Great article. I’ll have to check it out. I knew Stephen Keats from the original Death Wish. A really fine actor and genuinely nice person. Not sure how well this approach to illegal aliens will go over here, but who cares what they think. It sounds like an intense ride. Though if they are presenting online chat it should use “Ur” instead of “you’re”. Just saying.
I agree with the political message of this film, as described by this article and by its Wikipedia plot summary. It’s a bad movie otherwise. No reason for me to see it.
Nevertheless, I hope it has a positive effect, by waking up the masses to the lunacy of third-world immigration, enabled by the decadent Epstein Class. Anyone who opens our borders to invaders, as did the Biden regime, is guilty of treason. The same goes for the current government of Germany, which banned this film because of its truthful and patriotic message.
Strictly speaking, the film hasn’t been “banned” in Germany – the FSK, the organisation responsible for age ratings in films, has simply refused to rate it. Which, of course, makes it impossible to stream or buy the film here.
Uwe Boll has given an enlightening interview to a rather well-known German YouTuber. One of the things he pointed out was that the people making this decision mainly have a background in social work, labor unions, etc.
Then that is a de facto ban, although you are right to point out the technical difference.
Quite. I was being sarcastic. This is the kind of Legalese that lets governments get away with a lot of things. In the interview, Uwe Boll went on about the “no censorship” paragraph in our Basic Law, and that he’ll take steps. But he will lose his case precisely because it wasn’t the government that “banned” his film, it was an independent body (or so they say). And so the government can always point out that, oh no, we had nothing to do with it; therefore, this is not a violation of the Basic Law.
Uwe Boll has said many correct things on this film, but above all this. If he wanted to take the safe and cowardly way and get awards he could have made it instead with White nationalist young men raping “migrant” girls, but in the past five years that never happened.
White people form morally defined in-groups (in a way that other races do not). That means to be at our most effective in group conflict we have to feel and believe that we are moral, we are in the right.
We really are morally superior in this conflict. It is vital to our race that we remain so. The vile behavior of our antiwhite enemies must not contaminate us. There is no “tit for tat” in this struggle. There is us, struggling for what is right by moral (if sometimes stern) means. This is how we will save our race.
If he wanted to take the safe and cowardly way and get awards he could have made it instead with White nationalist young men raping “migrant” girls, but in the past five years that never happened.
That’s exactly what Uwe Boll said in the interview I linked in another comment. He also made it clear that he simply quoted the official statistics.
Somebody in the comments of said interview pointed out the obvious: If Boll had a vigilante leftist hunt down AfD voters, the film would have gotten an FSK 16 rating no problem.
I beg to differ:
https://sezession.de/70977/citizen-vigilante-kein-kult
Martin,
Your essay points out the many and manifest flaws of Citizen Vigilante. Yet, as you say, “In some respects, this is certainly a “milestone” and a powerful kick against the Overton window.” I agree. This for many is far more important than how aesthetically good or bad the film is or what kind of person Uwe Boll is.
I’ll admit that momentum, but I also think, as I wrote, that Boll has given us a rather poisoned gift here, with lots of bad ideas that work like opium on some.
I see your point. But I also think that it is pretty easy to distinguish the poison from the good stuff in Citizen Vigilante.
The Lichtmesz review is completely beside the point: Nobody claims that the movie is artistically high class.
But its importance cannot be overstated in times where immigrant brutality is covered-up and rape-gang reports are suppressed.
“This film is dedicated to the thousands of rape and murder victims who were betrayed by our legal system.”
Statements like this, difficult to find anywhere else, alone makes Citizen Vigilante ‘Kult’.
In this and most of his articles, Lichtmesz shows he is a great champion of free speech and criticism – as long as this criticism is not directed to his opinions.
Hello! It’s Denise. I read your analysis. An excellent piece. This jewish agitprop just sounds STUPID, as well as badly made. I will definitely not waste my time on this trash. It’s a shame that a German is so brain broken by life under jew tyranny.
Due to the meandering and Boll-speak, many will not make it through the first hour. The actual revenge story starts afterwards. It’s based on well-known real events. Six feral youths brutally raped a 14-year-old European girl. The judge lets them walk, because he doesn’t want to spoil the future prospects of the poor babies. The revenge is surprisingly thorough. It’s this 15 minutes that made the movie internet famous. The Wikipedia page tells the whole story, for those who don’t care about spoilers. It also quotes a reviewer who claims that the whole movie would be >brimming with hate against ‘the immigrant other'<. Ah, that velvety taste of pure hypocrisy.
Uwe Boll made more than forty movies. In the only other one that I’ve seen, Rampage: Capital Punishment (2014), a terrorist forces a TV station to air a video recording of him raging against the corrupt system in the USA. This five-minute-long rant, shown in its entirety, can be summarized as: “Kill the rich!” In a cameo, Boll himself comments: “He is right, you know?” Did the actual Boll really believe that? Did he make the movie to get TV stations to air his rant – and pay him for it? Are the rants of Citizen Vigilante also Boll-rants?
He is probably just a normal guy with flexible, ever-changing opinions, monomaniacally obsessed with making as much movies as humanly possible. His achievements in this regard are the most interesting thing about him.
Dreadful film, as a movie, like The Turner Diaries was a dreadful book. But the message and the media hysteria are the important factors.
Yes. We should judge it as propaganda only, and do so while we can, just in case Boll changes his mind about immigration. Hopefully he won’t.
I just finished watching “Citizen Vigilante “ surprisingly available on American Amazon prime .
very good movie , obviously referencing Death Wish .
it s not set in a real European City or British City , though everyone including the very realistic , nasty Muslim rapists speak English .
I like how he reversed the would be date rapists with date take drugs
Offing the judge was very good .
IMO this movie also references “ Falling Down”
excellent movie and yes no cucking .
One point of Mr. Spencer cannot be stressed enough:
‘Citizen Vigilante bests … in one category that matters: It doesn’t cuck’
Even another important milestone in our fight -‘Le Camp des Saints‘ – fails in the cuck category: the invaders are from India, not from Algeria, as in France’s reality.
Saying Raspail ‘cucks’ would be exaggerated, but he clearly stops at some red lines, which Citizen Vigilante passes with audacity.
That’s a strength of Le Camp, as the Indians represent non-white people generally, and it doesn’t muddle the message with anti-Islamism (however loathsome the religion) or the particulars of the French experience in Algeria.
Watching this amateurish gore-flick I had the uneasy feeling it was designed to cast shade on anti immigration movement. The Vigilante himself seemed to be a two dimensioonal version of Patrick Bateman of American Psycho fame. Slaughtering a squadron of police, an extended family, ordering the eviction of hundreds of tenants from his slums and sacking his staff on the grounds the office smelled like a nursing home seems unlikely to elicit support for his political views. The extended scenes of slaughter were pure slasher flick gore and appeared to be those into which the writer/director/producer put the most effort. The head of a police goon exploding towards the camera as if somebody had thrown a bucket of blood at the camera was memorable. 3/10
Let s try to get
this director to do a movie of HAC s “ The Brigaid”
JaueryanOD: June 26, 2026 Let s try to get this director to do a movie of HAC s “ The Brigaid”
—
You mean that sleazy asshole’s The Brigade? Let’s not.
You are an ignorant fool to suggest that professional smear artist and anti-White political saboteur should write anything for our side. “Dr. William Pierce on Harold Covington” at nationalvanguard.org
I just watched this entertaining but flawed film, here: https://x.com/Yourservic42170/status/2070170741614534865
Arnie Hammer does a good job in his role as Sanders, but I already knew he is a demi-Jew, the great grandson or Armand Hammer. Read his WikiJew biography.
A much better vigilante film could be made based on William Pierce’s second and final novel, Hunter, with a non-Jew playing the racially loyal protagonist.
It represents a graduate course in power politics and the psychology of the ruthless.
How should an honorable man confront evil?
Should he ignore it, with the excuse that it is not his responsibility?
Should he ally himself with the evil, because that’s where the “smart money” is?
Or should he take up arms against it and fight it with all his strength and without regard for the personal consequences, even though he must fight alone?
Oscar Yeager, a former combat pilot in Vietnam, now a comfortable yuppie working as a Defense Department consultant in the Virginia suburbs of the nation’s capital, faces this choice.
He surveys the race mixing, the open homosexuality, the growing influence of drugs, the darkening complexion of the population as the tide of non-White immigration swells.
He finds that for him it really is no choice at all: he is compelled to fight the evil which afflicts America in the 1990s; his conscience will not let him ignore it, and joining it is inconceivable.
He declares war on the corrupt and irresponsible politicians who are presiding over the destruction of his race and his country, the scheming media masters who are the principal architects of that destruction, and the spiritually sick adherents of “diversity” who are their willing collaborators.
And when Oscar Yeager is on the warpath, you’d better not be in his way!
All that’s needed to produce an historic, uncompromising film for Our Cause, based on Pierce’s Hunter, are a few million dollars and putting together a crew of competent White professional filmmakers. Christian conservatives and the rest of the Politically Correct herd will despise Hunter, the movie. So what.
Are some of those expressing a positive take on this movie perhaps experiencing “secret friend” syndrome? Thank you for the detailed review, as I will not see the movie.
Ok, I streamed it on X last night for free. If you’re interested in watching this, and don’t want to cough up any money, do it today. I think it will be taken down on Saturday. One thing seems certain, Uwe Boll seems to be driven by the message more than profit, and offering a free livestream does increase his credibility where that’s concerned.
Having said that, the movie is close to being unwatchable. It is really that awful in terms of production and entertainment value. Therefore, it must be watched with only its propaganda value in mind. (And even there, I have some criticisms). I think it needs to be shared and watched far and wide, but if you’re showing this to your conservative uncle who complains about red dot Indians handling customer service phone calls for various corporations, keep in mind that you probably need to warn him that it isn’t really an entertainment movie.
A lot has been said about various head scratcher scenes. The one that puzzled me most was the “playing chicken” car crash scene. But then I thought a little deeper about it and I think I understand why it was there a little better. Spoiler: Hanmer’s character has drugged and abducted a judge who gave a Muslim grooming gang a slap on the wrist. On his way to a remote rural location to stage a suicide, he lectures him about his acts of treason, and while doing so, sets up a real-life metaphor to demonstrate the cowardice of people who are unwilling to break the rules to protect themselves. He drives headfirst in the wrong lane toward an oncoming car, forcing them to swerve into a ditch (and explode, like the car was full of dynamite…horrible horrible straight to DVD writing and production). This turns into a parable about normal people being unable to break the law themselves (swerve into the other lane to avoid hitting him and also avoiding the ditch). Aside from the metaphoric value being weak, and the callous disregard of an innocent driver, in my mind I also questioned why he would be using this to lecture a man who he intends to kill in 5 minutes anyway. What’s the point?
But then, after a little deeper reflection, I realized that through the entire movie, the lectures aren’t being directed at the other characters, the lectures are being directed at the movie audience. In a way reminiscent of Adam West giving a “crime doesn’t pay” monologue to Robin in the old Batman TV show, Boll seems to be using the moment to break the 4th wall and heavy-handedly lecture the audience to stop being cowards.
So as bad and almost unwatchable as the movie is, you almost have to suspend your criticism of the protagonist, not concern yourself with his questionable character and flaws, and just filter out the messages about how our elites are intentionally turning on us.
The other most questionable scene to me was the brothel scene. I can’t fault Boll for attempting to “darken” the protagonist a little bit. Isn’t that what Hollywood does now anyway? Build stories around the anti-hero rather than highly moralistic good guys? My criticism here is that he could have used a sex scene way more craftily to drive home a point about white sex slavery.
If I had written this movie, I would have had him visit the brothel with the real intention of getting his needs met. Vigilantes are often lonely and isolated men. But instead of having him go off on a tirade about mold on the ceiling (lol WTF?), I would have given the character and epiphany about the pimps being African migrant men drugging up white women and pimping them out, and a violent confrontation with said pimps. Instead, the protagonist chooses the least white looking prostitute (she appears mixed race with some North African or Eastern Mediterranean mixture), and proceeds to get a blowjob and missionary sex, interrupting it when he becomes distracted about mold on the ceiling and gives a lecture about being the landlord of the building and not wanting it ruined by mold. It was very weird.
To conclude, I have a difficult time with this movie because on balance, I don’t think it’s going to move the needle much because of the total lack of nuance. I’m reluctant to say it’s a harmful movie, and I think it should be shared with people who would be receptive to the overall message. I do encourage people to watch it, thinking of it as a purely propaganda piece, and if you do share it, make sure that the people you share it with understand this as well.
Thank you. I totally agree with you about that car crash scene. What is the point of killing an innocent driver and then rail about “terrorists”? Talk about bad optics. Couldn’t Boll come up with a different example of breaking rules designed to persecute and destroy you? This wouldn’t even require a fancy car crash staging. This isn’t even clever.
I’ve only scene one scene. Blackpilled played a scene of Hammer killing an entire Arab family. Hammer (and I’m using the actor’s name for a *reason*) questions the Arabs as to why they commit crimes, ex grooming and raping White girls. The Arab actors are actually better than the wooden Hammer. The answers that that the Arabs give are all the justifications we’ve heard forever. He’s the thing though – Hammer IS A JEW. Apparently there is a sex scene that shows him adorned with some type of Hebrew symbol tattoo.
Again I haven’t seen the film, but based on what I’ve heard and read, Boll made a jewish agitprop film. It’s fine and dandy if jews slaughter random people. Especially Muslim Arabs, since they are desperate to finish off the Eretz Israel project. It seems as though jewery is offering up Arab Muslims as objects of hatred and targeted for utter destruction. We haven’t had a problem with Arabs/Muslims after Thomas Jefferson dealt with the Barbary pirates – not until jews got their claws on the levers of Western power and coaxed and now FORCED Third World savages into once-White countries.
Oddly enough, I haven’t heard of any discussion in this film, regarding the JEWISH role in “multi-culturalism” or DEI or the jewish attacks on Arabs lands, and the importation on rightfully hostile Muslim Arabs and negroes into White countries. Hmmm….I wonder why that’s not addressed.
Lest anyone mistake my words I am NO fan of Arabs/Muslims. I do believe they would have stayed in their lane, had we stayed in ours and worked on removing Der ewige Jude.
He’s the thing though – Hammer IS A JEW. Apparently there is a sex scene that shows him adorned with some type of Hebrew symbol tattoo.
The movie is distributed by Quiver Distribution, a company founded by Berry Meyerowitz and Jeff Sackman.
Armie Hammer is a descendant of Armand Hammer, the Soviet financier of the 1920s. He is not entirely Jewish I believe. To me, however, this is less relevant than how Citizen Vigilante yanks the Overton Window so far to the Right as to nearly break it. We need to focus on the good this film has done and pressure Uwe Boll to make another one just like it, preferably with a better, more coherent script.
Re: the “Save Democracy” theme in the movie.
I remember when Trump ran in 2015, how the liberal establishment went absolutely ape-shit over “dog whistles”. There is a reason for it; the left dug their tentacles into every nuance of our culture and every institution of power by doing the very things they freak out about when the far-right does it. They’ve been using anti-white dog whistles to brainwash western civilization since at least the end of WWII.
“Democracy” is a dog whistle for “white people” the same way that “western civilization” is. (So is “Capitalism”). While I would agree that we are at an impasse where democracy no longer works for us, we have to face the truth that it’s because democracy was created by, and for, white people to maintain a high trust homogenous society where people could ACTUALLY trust their ideological opponent with a loaded gun every 4 years, to borrow from Dr Johnson. Since we are forced to exist in a non-homogenous society, democracy becomes less and less viable. But we can’t get away from the link that democracy has to white identity.
The issue here is that dog whistles are effective. If Boll were to come out and say anything at all negative about democracy, he’d totally undermine his own movie. We simply will never position our cause to a place of power by alienating normal people who have a high opinion of democracy. We need better nuance than that. Boll using democracy as a dog whistle was absolutely imperative to getting this message across.
in response to Germany banning the film, Elon Musk has posted it on X for free for everyone.
I am a little late to this party. I think it is a great understatement to contend this film is merely far from perfect. It is objectively a very bad film, despite however much we may agree with its purported message if taken at face value. There are likely countervailing benefits in supporting this film despites its flaws, particularly as that defies and dismembers European style censorship of so-called hate speech. But to overlook how objectively bad this film is (probably) a mistake.
As I explain in this short note, we do not yet have anything close to a political mandate. The film is likely to be offputting to people still sitting on the fence. Endorsing such a flawed film is also discrediting.
Since I wrote this, the film has of course blown up, endorsed by Elon Musk. My only hope is that the coimmercial success of this film shows there is demand and will entice capable filmmakers from making films that exhibit a minimum baseline of competence.
Vehmic courts (Vehmgericht), also known as Fehmic courts, were a unique system of criminal tribunals in Westphalia that operated from the late 12th to the 19th century. Originally public assemblies for minor offenses, they evolved into secret tribunals (Stillding) with the power of life and death, deriving their authority directly from the Holy Roman Emperor rather than local feudal lords.
These courts were notable for their extralegal methods, including secret proceedings, summonses nailed to trees, and the execution of criminals by hanging on trees (often marked with the symbol S.S.G.G.). They filled a judicial vacuum in regions where central imperial control was weak, becoming most powerful in the 14th and 15th centuries before declining due to corruption and opposition from territorial princes.
Wiki
This is what Germany fears: A return of the Holy Vehm. But this is exactly what they are calling forth from the void. Maybe their unintended call will be answered.
Death Wish may have cucked with all the White criminals, but there is also that scene when Paul Kersey goes to a crowded cocktail party of his well-off collogues and peers, starting at about 1:08:50 into the film. Snippets of conversations between the almost entirely White partygoers are heard as Kersey walks by them. They are all talking about the Vigilante.
One man says “I tell you one thing, the guy’s a racist. You notice he kills more blacks than Whites.” The woman that man is talking with says “Oh, for Pete’s sake, Harry, more blacks are muggers than Whites. What do you want us to do, increase the proportion of White muggers so we’ll have racial equality among muggers?”
As Paul Kersey and one of his collogues walk by, his collogue overhears that conversation, and says “What? Racial equality among muggers?!?” He laughs, and says “Ho, I love it!” as he wryly points to the woman, acknowledging her as having said something very humorous. He passes another partygoer and tells him “Racial equality among muggers”, as if it is one of the funniest and most absurd concepts he has ever heard.
Yes! I mention that scene in my 2018 Death Wish review, which I linked.
I have not seen Death Wish since the 1980s when I was a teenager. I just watched the first 30 minutes, and noticed a very young SuperJew Jeff Goldblum playing the role of one of the “white” thugs.
I just watched the film. As someone who’s seen an Uwe Boll film before, the quality was better than expected. The one thing that felt most jarring to me was the television news broadcast that repeatedly was shown to narrate the events of the film: The reporter was forthright about topics like the migration backgrounds of criminals, popular dissatisfaction about migration policies and criminal justice, etc. In reality, of course, the mass media would be one of the primary forces hiding these issues.
Elear, repeating DenisetheCelt: June 28, 2026 He’s the thing though – Hammer IS A JEW. Apparently there is a sex scene that shows him adorned with some type of Hebrew symbol tattoo.
The movie is distributed by Quiver Distribution, a company founded by Berry Meyerowitz and Jeff Sackman.
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We should be able to do better than to distribute a deliberate pro-White film by a company founded by Jews. How much distribution is needed to have it widely available on the ‘Net — not even reviewed negatively by those who hate it except by ADL/SPLC types and their allies. They smell blood, but unfortunately for them it is their own.
It will not be distributed in the dying, Hollywood Jew-controlled-movie-theater-system anyway.
Someone should be able to accurately describe what the large, esoteric tattoos represent that are on Arnie, the demi-Jew actor’s body. Why are they featured so prominently? Is there a hidden message? Probably.
A correspondent sent me something Nick Griffin wrote about CV on some social media. I couldn’t cut and paste it so requested he transcribe it so I could. Griffin, if you’ll remember, destroyed the British National Party (BNP) after leading it after John Tyndall had led it:
“…Before you get too excited about this film, ask yourself why it even exists.
It’s director is the maker of notoriously bad films, whose total losses of £20 million may finally be overturned by the huge appeal of this one to angry young men (with a lot to be angry about, as it happens).
One of his earlier films was a brutally graphic promotion of the horrors of the Holocaust, for which he believes all Germans are guilty and most atone forever.
Star Armie Hammer is the grandson of Armand Hammer, the Jewish bankster who helped the early Bolshevik regime tighten its deadly grip on Russia.
Citizen Vigilante is distributed by Quiver, owned and run by Jeff Sackman and Berry Meyerwitz.
It is being pushed on social media by Tommy Robinson and every single one of the Zionist-funded ‘counter-jihad’ influences who favour mass immigration from India and Africa, just as long as they’re not Muslims and will ‘integrate’ (i.e. make babies with your sisters and daughters).
This hymn to racial violence is available through Jeff Bezos’ Amazon, which refuses to sell totally truthful books by genuine nationalists.
So the exact same machine which has spent decades striving to undermine white ethnic consciousness, fill our people with guilt and cowardice, and suppress opposition to mass immigration, suddenly wants young white men fighting mad.
Think about that!…”
Source:
https://x.com/NickGriffinBTP/status/2070778754654208425
Someone explain this to me. The goyim make it profitable for Jewish movie producers to make white-vs-nonwhite racism cool again. And this is somehow a problem? How *else* are we going to shift the Overton Window, guys? If the worldwide demand for this kind of material encourages a few Jews in the movie biz to make a killing off of it, fine. What we get in return will be more (and hopefully better) movies like Citizen Vigilante. When this happens enough times, race realism and white ethnocentrism will return to mainstream discourse like it’s 1926 rather than 2026. Then what? This will encourage politicians to follow in this vein since politics is always downwind of culture. If enough of this happens then the immigration issue in Europe will reach a head sooner rather than later. That is, while whites still have a majority. And if that happens, acceptable levels of remigration will have a better chance of happening than otherwise.
Remember Glengarry Glen Ross. Let’s always be closing, guys. Let’s always think about how cultural events improve our position rather than mope and seethe just because some Jews make a few bucks in the meantime.
Saw it.
This is not a good movie.
Or even the narrative it’s billed as.
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