The Rise of Petulant Cinema: 'Citizen Vigilante' and the Culture of Rage
In the realm of cinema, a new breed of film has emerged, one that thrives on petulance and provocation. Citizen Vigilante, the latest offering from Uwe Boll, embodies this trend, catering to a specific audience with a penchant for outrage.
The film introduces us to Michael Sanders, an American vigilante on a mission to fix Europe's 'woke' criminal justice system. Armie Hammer portrays Sanders, a landlord by day and a one-man army by night. This character is a fascinating study in contradictions—a murderous vigilante and a landlord, a hero and an antihero. It's a bold choice, but one that, in my opinion, misses the mark.
The narrative begins with a stereotypical scene: a blonde woman and her white child, a sunny neighborhood, and a sketchy building with graffiti. Enter the black migrant, a knife-wielding villain who stabs the innocent woman. This opening sets the tone for what's to come—a simplistic, black-and-white view of the world.
What's particularly intriguing is the film's attempt to justify its protagonist's actions. Sanders, in his vigilante persona, seeks out victims of crimes and asks them how they'd like their perpetrators punished. However, the victims' responses are disappointingly one-dimensional, echoing Sanders's own vision of justice. This lack of moral complexity is a missed opportunity, especially when compared to Abel Ferrara's Bad Lieutenant, which explores similar themes with far more depth.
The film's political leanings are murky at best. While it may seem like a right-wing fantasy, it lacks the coherence and ideology to truly be classified as such. Instead, it joins a growing trend of 'petulant' art, characterized by its shallow engagement with political ideas and its primary focus on provoking a reaction.
The rise of this petulant culture is a fascinating phenomenon. With the re-election of Trump in 2024, a new era of cultural petulance emerged, marked by a return to offensive language and a sense of persecution. This attitude is pervasive, from White House memes to stand-up comedy routines, and it's hard to ignore its impact on cinema.
The Daily Wire's Lady Ballers and an upcoming Jonathan Majors film are prime examples of this trend. These films are less about ideology and more about cultural trolling, aiming to provoke without offering any substantial commentary. In my view, this approach is a disservice to both art and politics.
The real issue with Citizen Vigilante is not its petulant storyline, but its poor execution. Boll's film lacks the writing and direction to engage the audience, leaving it boring and uninspiring. The potential for a thought-provoking exploration of vigilantism is there, but it's buried under a layer of shallow storytelling.
Personally, I find the implications of this trend disturbing. If art is reduced to mere trolling, what becomes of meaningful discourse? The rise of leftist political movements in recent years may be a reaction to this petulance, a search for something more substantial. As a film enthusiast, I hope that the future of political cinema lies in thoughtful, well-crafted narratives, not in shallow attempts to trigger and offend.
