Citizen Vigilante.

Originally announced in early 2025 as The Dark Knight. Warner Bros. quickly sent a “you’d better fucking not” letter because of the obvious potential confusion with their famous Christopher Nolan Batman thing.      

Citizen Vigilante is produced and distributed by a company called Quiver Distribution cofounded Berry Meyerowitz and Jeff Sackman. Berry Meyerowitz has significant, ongoing leadership in organized Jewish philanthropy focused on Israel support, while Jeff Sackman’s involvement is more through his film work. Both have publicly connected aspects of their professional output—particularly the 2023/2024 Holocaust rescue film Irena’s Vow—to rising antisemitism.

Meyerowitz serves as Co-Chair of the Israel & Overseas Committee at the United Jewish Appeal Federation of Greater Toronto He has been actively involved for about seven years, participating in twice-yearly missions to Israel (often at personal expense) for consultations, site visits, partner meetings, and due diligence on fund allocation

The 2023 feature film Irena’s Vow was distributed and produced by Quiver Distribution. Meyerowitz and Sackman have described it as a passion project and noted its particular importance “amid the massive increase in Jewish hatred and bigotry around the world.”

With that in mind, Citizen Vigilante focusses in particular on Islamic migration into Western Europe, and how apparently their cultural values can endanger the indigenous  female population and how judges deliberately deny justice to their victims while victimising the perpetrators and making excuses for their crimes.

There is no clear reason made explicit in the movie why these judges are behaving in this way but we can examine the labours of the billionaire George Soros who  is heavily criticized by right-wing and nationalist politicians for funding non-governmental organizations or NGOs that provide legal aid, humanitarian assistance, and advocacy for asylum seekers and refugees globally., with his Open Society Foundations, so called charity.

OSF has spent over $24 billion historically, with ~$1.2 billion in expenditures in 2024 alone. This buys a lot of busy busy bees to go around researching, lobbying, finding loopholes, and relentlessly targeting the institutions by exerting pressure and wearing them down under an endless whining onslaught from paid off academics and the never ending whistling arrows of endless and tiresome civil rights and race-related litigation.

The Open Society Justice Initiative (OSJI) uses  legal pressure, litigation and strategic lawsuits to create legal leverage: and governments can be compelled by court rulings.

The OSJI supports or directly engages in strategic litigation to challenge laws, policies, and practices they view as discriminatory or rights-violating. Their Successful cases (often at the European Court of Human Rights or national courts) create binding legal precedents that force governments to change policies, pay compensation, or alter practices. They bring cases supporting migrant and asylum seeker rights along with a broader criminal justice reform litigation aimed at reducing what they describe as ethnic disparities in incarceration.. 

The Open Society Justice Initiative (OSJI) has enormous Financial Resources based on the private wealth of George Soros. Soros has transferred more than $32 billion to the Open Society Foundations since the 1980s. In 2017 alone, he moved $18 billion into the foundation and perhaps it is no coincidence that from this date onward, the onslaught of woke policies really ramped up in the West.

The other means of influence they have are financial inducements. OSF distributes hundreds of millions in grants annually across Europe and globally. They fund NGOs, think tanks, researchers, lawyers, and activists who work on migration, justice reform,  Research and reports that frame issues in particular ways (e.g., disparities in prisons as mainly bias-driven).  This funds go to Advocacy campaigns and lobbying along with legal aid organisations that assist migrants and challenge government decisions.  

The broad spectrum approach taken by the Open Society Foundations has created Network amplification: Funded organisations then influence other NGOs, academia, and parts of the media, creating broader pressure. This is the source of wokeism, it has emerged from left-wing university research projects and research specifically funded by Soros, and then likewise supported and implemented by similarly funded Open Society Foundations operatives, keen to continue to receive their stipends from the generous Jewish philanthropist.

It is curious that Barbara Lerner Spectre talked openly about Jewish involvement in forcing multiculturalism on the West, and it must be George Soros among others to whom she refers. So lest we forget, certain Jewish people have a hand in this kind of mass replacement migration which is precisely leading to outcomes such as those expressed in the movie. But also a Jewish production company is offering us the solution? Perhaps we’re caught in a Kosher sandwich of some kind and we’re the meat.

So although the concerns raised by the film are perfectly valid, I have the distinct impression that the motivation might be less a case of genuine concern of European women and girls and more might be a cynical political ploy to use the portrayal of Islamic migrant violence in order to strengthen the Jewish position in the cultural zeitgeist, particularly among right leaning individuals, and funnel them towards people like Tommy Robinson and their brand of Zio-Nationalism.

The film begins with a scene with a mother and her little boy in the supermarket. It seems like a brightly lit cartoon dream, as bosa nova supermarket musak plays with twirling jazz woodwinds but no ominous booms, or sinister sound effects to give a clue of the danger the woman is in. The boy asks if he can get some chocolate and his mother gives a play of fake reluctance as she assents. From this point the film could do anywhere. A documentary, French TV film. A European comedy, the music and the joys of  the supermarket abruptly cease as she leaves the store and starts walking along the pavement with her son, they walk past the side of a graffiti blemished building block  and the graffiti is the only semiotic clue as to what might happen next: the sudden blur of a black man stabbing a knife in the woman’s neck and the blood gouting out, that the film gets on track.

The strident ominous marching strings and hammering drums  and the digital clicks and blips of the credits there’s a newsreader from a parallel universe, she reminds me of one of those wacky TV news readers  from  Groovy Channel 27 from the TV comedy show Red Dwarf, a television station where the news is read by holographic humans.

The newsreader does a lot of heavy lifting in this film but the voice doesn’t belong to the actress, as its dubbed, and this only further cements that sense of holographic unreality. I think this is the only English accent in the film, the rest of the cast speaking English mainly with varying kinds of Eastern European accent.

She acts as unlikely narrator and info-dumper from a news-channel called World News, which in a way makes the movie feel less like a feature film but a weird hybrid between a that and a video from a soon to be banned  Youtuber, and gives it the more contemporaneous edge that it wouldn’t have had otherwise, fitting it nicely into our cultural milieu  of badly lip-synced AI right wing characters, such as Amelia. In a sense she represents a kind of Amelia character, with her stern lecturing voice, telling us the news AND strangely, the TRUTH at the same time. 

She helpfully tells us that: “Parents afraid to let their children play outside and many women after dark avoid venturing out altogether.” And for sure World News can’t be a Youtube channel because the newsreader actively voicing its channel’s support for the vigilante would get them sniffed out by the algorithm before their first like.

So when like delivering the light-hearted bit at the end of the local news she says:

“But in a twist that has captured the imagination of the public hope doesn’t rest in the hands of government officials or law enforcement. “

And in a sort of cultural antidote to the BBC she expresses  her opinion that: “The vigilante is providing a sense of justice targeting both criminal and those in power who allowed these things to happen unchecked,”  with all the fervour and praise the BBC would reserve for some  gay black handicapped transgender climate-change spaceman, but one suspects they must be going out on Rumble or Bitchute, and finding a vastly smaller audience.

But that’s the problem, when you start to look too closely at the details and test this world for reality, it starts to break down in front of your eyes, the mishmash of European accents never allow you to decide what country you’re in and the only thing you really learn is the country you’re not in, since the movie shows that the Citizen Vigilante has supporters from fans in other countries, shown via Tiktok style blipvids, such as Italy and Germany.

The location of the film is only signalled as Europe at the beginning of the film, and although it is filmed in Croatia, Croatia and most Eastern European countries don’t actually suffer specifically from mass immigration, at least for the moment, but specifically there is a mystery as to what country all this might be taking place in. In this film the police uniforms say Police in English and reality trembles beneath you again and you feel like you’re in a cartoon.

When you realise that this film isn’t trying too hard to be too real,  then you guiltily realise  you can just enjoy this film for its overblown cartoon kicks.

There are surprisingly few violent encounters with immigrants in the film. It is certainly not  anything like a race-war. The Citizen Vigilante himself, an American former army officer who returns to his father’s home in that elusive an unknown  European city which has the architecture of Half Life’s City 17,  is a man named Michael Sanders who himself is morally dubious.

His is not a puritanical crusade but more like the soldier who’s had enough.  And he is just as ready as to break white teenager’s wrists as well as black ones, as is shown when a trio of unruly youth are shown abusing a bus driver and refusing to buy tickets. He pays their tickets and gives them an unconvincing  lecture on basic social economics  and why they should pay for tickets, later they are found abusing and bullying an autistic boy, at which point he snaps, and snaps their wrists in a bloody but ultimately unconvincing bit of schmaltzy violence, although the teenage girl, who may have been the gang’s ringleader and main instigator, is apparently spared Sander’s stomping boot and is presumed to have escaped.

He himself has no discernible moral compass, apart from intoning some Eastern sounding mumbo jumbo: The universe demands balance. Yin must match yang.

He also refers to the Nihilist philosopher Friedrich Nietzsche and asks on his Rumble podcast: “What if everything they ever taught you was nonsense, maybe that’s what Nietzsche meant that it’s cold and lonely at the top of the mountain of wisdom free from imposed morals, false religion or politics.”

And declares “You think they failed you, they were they never meant to give you justice, they only exist to control you.”

He  pays prostitutes for sex, in a brothel that he owns in a building that he owns, and the reason he returned to his father’s country, for the first time, is apparently to manage his the family property and he spends a lot of the film less as a vigilante but more as a landlord.

There is a long and what seems an unnecessary sex scene, which although it doesn’t show anything except boobies, it suggests more than enough with the slurping sounds associated with certain acts. It’s an interesting take on the sex scene I suppose. Hear don’t show.  I wonder if the sex was necessary to thoroughly hetero-sexualise the hero, and assure us, that he loves a bit of skirt  like any normal bloke when he’s not being a bit too far-right. He’s not an incel, he gets some, even though he has to pay for it,  on the basis of that he might just be part of the  MGTOW spectrum.

He pays the prostitute fifty bucks with a possible surcharge stipulated of an additional 30 bucks for each extra position. Making what could seem like an inexpensive day out, become suddenly a little more expensive. Especially if like me, you’ve got more positions than Twister.

During the business his glance moves towards the ceiling and when he spots black mould on the upper walls he loses the mood. He stares at damp and mouldy wall with the wallpaper or paint chipping away. He then becomes Lord of the Manor and lectures her on not opening the window when her clients who have ‘finished’ take a shower. At one point he sounds more like a health inspector of the premises and to her surprise he reveals that he owns the building. It seems like the director wanted a Bruce Wayne moment for Michael Sanders like when in The Dark Knight, Warner Bros’ proper one that is,  Bruce Wayne runs into Rachel Dawes and Harvey Dent at a fancy restaurant. He wants to pull some tables together so they can all sit and talk. Harvey says “I’m not sure they’ll let us,” and Bruce casually replies: “Oh, they should. I own the place.”

It’s just more reason to find the film amusingly cartoonish and probably not taking itself too seriously, like a comedy played dead straight like Airplane or  the Naked Gun movies.

Prior to the scene Armie Hammer reveals his naked torso, a conscious and emphatic choice by the filmmaker Uwe Boll, to show Hammer’s strange Kabbalistic tattoos. Armie Hammer describes himself as half-Jewish, his  great-grandfather was the industrialist Armand Hammer who was born to Russian-Jewish immigrants (Julius Hammer and Rose Lipschitz).   One is a kabbalistic  downward pointing triangle, representing water,  that is symbolic of the passive/receptive, feminine, matter/emotions, on his chest.

He also has the Kabbalistic symbol for air on his left arm.  In hermeticism and Kabbalah, Air  is the  the element of Mind, Breath, and Spirit in motion. It is intellect made dynamic — the power of thought, speech, and the invisible force that connects everything.

These symbols are used in Hermeticism, Kabbalah , alchemy, and Rosicrucian-influenced occultism  and in particular in the Golden Dawn esoteric system.

More prominent is the Hebrew letter Aleph, on his lower torso. In Kabbalah Aleph has highly mystical significance:

It represents the infinite, hidden, and ineffable aspect of God (linked to Ein Sof — the boundless Infinite). It symbolizes creation from nothing — the primordial potential before anything exists. It is seen as the breath or silent divine force that underlies all creation (associated with the element of air). It represents the unity of opposites and the bridge between the infinite Divine and finite creation.

The film seems to chuck Trump and MAGA under the bus as during one of his internet broadcasts, he lumps Trump in with Hilary Clinton and Joe Biden as people who trick the American people into dying for their country in wars. I found this odd of course, since the action takes place in an alternate reality Europe, it would have been much more on the mark to mention the evil triumvirate of European technocrats Macron, Von de Leyen along Scholz/Merz but perhaps some of those names would be less familiar to the American audience, but the movie would have been much more on the nose if they had.

We meet Regional Chief Henry of Interpol and they are on the track of the Citizen Vigilante, who seems to have been talking to former FBI director James Comey and believes that the Citizen is part of an international terror cell against democracy, supported by  China and Russia, involved in online and on the ground fighting in the EU and the USA. A daft fantasy narrative beloved of many of the left, similar to Russiagate and the desperate duplicitous attempt to portray Trump as working for the Russians.

Throughout the film there is a marked lack of tension and suspense, except over the tax authorities investigating holding companies and Citizen Vigilante’s residency status and how this can impact his real estate business.  The major threat of the film, is that because Michael Sander is not a registered citizen nor apparently entered the country legally, despite owning a real-estate company inherited from his father, the risk is that the government will seize his property if he does not provide citizenship information.  For his part the fact of housing migrants with his properties bothers him only if he doesn’t get paid, and he is happy to rent his properties to the government at the full market rate.

At no point does Michael seem to be under any physical threat, the ominous heavily armed convoy which sets of at the beginning of the film to  arrive at their appointed confrontation with the Citizen Vigilante  sabotage their own threat when one of the soldiers on the coms announced “we might need another vehicle.” It takes half the movie for the convoy to final arrive and the final confrontation is cartoonish and absurd.

Citizen is holed up in a metal turret in the corner of one of the rooms in his house, with two machine guns and the hapless swat team, probably the worst swat team in history, and they simply stand in front of the heavily armed and armoured turret while Citizen gives them a last warning to leave. They neither leave, nor seem to have prepared any tactics for such a face off such as withdraw, regroup and think of ways to blast him out of the turret. Instead they just stand there like hapless NPC’s as wave after wave spawn into the room and are similar and bloodily dispatched. They whole thing is rather silly and a bit pointless and perhaps is there only to allow a liberal spilling and splattering of fake blood. It seems almost incidental to the story. They all get messed up ultimately, and even Regional Chief Henry is wounded when they attempt to gain access to a now empty but secured bunker which explodes when they attempt to break into it.

There’s a cartoonish scene where Michael overhears two men preparing to put Rohypnol into two young ladies’ drinks at the nightclub he owns, so he distracts them for a minute then switches the drinks around so the two men are the ones who get drugged. At the same time there  is a very strange scene involving a stalky standoff between Sanders, Chief Henry who is lurking about spying on Sanders at his club, and ultimately manages to surreptitiously take his drinks glass to get a DNA sample to help identify him  as the  Citizen Vigilante. Though there is no real police-work or drama about the investigative process except this one scene.

Another of Michael Sanders’ victims is Judge Reinhold. He is the judge who presided in the case of 6 migrants assaulted a 14 year old girl and let the perpetrators off without a custodial sentence, a frighteningly common occurrence in the real world where there are countless such cases which are too unpleasant and enraging to go into in too much detail here, suffice it to say that George Soros’ Open Society Foundations is the key reason there is an irrational and self-destructive progressive push in the police and judiciary to make excuses for migrants, because it is OSF policy.

Why did they make this film? Is its heart in the right place? Are they doing it out of genuine concern about George Soros judges allowing migrant criminals to commit the worst offenses against women with impunity because they have some kind of weird religious exemption, which might seem like satire but its sadly all too common an occurrence.

Or are they motivated to create conflict? I don’t know, but I do know that there was certainly a reason why the Southern Poverty Law centre infamously funded several neo-Nazi organisations in order to create an enemy that didn’t exist. There are certainly factions, globally the present left would love some kind of genuine terror threat emerge from the far-right, then they could demonise white people and  arrest more in order to balance their arrest records in order to fulfil Open Society Foundations obligations to reduce the number of ethnic racial minorities in prison.

The Open Society European Policy Institute  OSEPI is the Brussels-based policy and advocacy arm of the Open Society Foundations  which engages directly with the European Commission, Parliament, and other bodies, providing research and recommendations on migration, justice, and human rights. It is the legal entity that represents OSF’s interests in the EU institutions. Its role is to monitor EU policies, produce research, and engage with policymakers to promote what OSF calls “open society” values.

A  2020 report by the European Centre for Law and Justice (ECLJ), a conservative Christian legal advocacy group found that between 2009–2019:

Out of ~100 permanent judges who served on the European Court of Human Rights , at least 22 had prior roles (founders, directors, or paid staff) at seven human rights NGOs that frequently appear before the Court as applicants or interveners.

12 of those 22 had links to the Open Society Foundations or its direct affiliates. Six were former national or international leaders within the OSF network.

The other 10 were linked to NGOs that received substantial funding from OSF (examples: Helsinki Committees network, Amnesty International.

Within this context the character of Judge Reinhold, the judge who allows the 6 men who assault the 14 year old girl to go free, is clearly one of George Soros’ Open Society Foundations trained and sponsored judges, but to its detriment this film has no interest in getting to the bottom of any of these particular rabbit holes which usually have a weird billionaire  at the bottom of them, and this might conflict with the producer own Jewish sympathies.

Citizen Vigilante’s punishment of this man is a key, though cartoonish sequence from the film, which actually only ads to that strange charm the film with its very thin veneer of world reality which falls to pieces once you start to pick at it.

Sanders is very much the voice of reason, and the judge has been drugged and incapacitated and can only mutely and unresistingly suffer the ordeal, which involves one of Citizen’s characteristic public service lectures and amateur sociology moment. But again, in a weird way, Michael Sanders’ character is strangely believable. The genius who  has all the answers and all the plot armour is not what Michael Sanders represents. He is the simple minded but militarily trained slightly scuzzy millionaire playboy. There is a brute honesty about the simplicity and honesty of much of his dialogue, shorn of superfluous intellectual analysis or over erudition:

He  says “Laws are meant to help the victims not the perpetrators!” he speaks with the wisdom of the man on the street. He reads the judge’s words back to him in condemnation:

“I saw you say those boys just had an adjustment issue, they didn’t know how to fit into society.” He accuses the judge of being directly responsible for the destruction of society and tells him that  he is the cancer killing it.

For some inexplicable reason, Sanders then decides to demonstrate how sheep like people are, by running another car off the road, causing it to crash and explode in a deadly cartoon CGI fireball, casually taking the life of a presumably innocent person, maybe a young mother. Proving a deadly point that most people wouldn’t cross the line or divert from conditioned behaviour even if their lives depended on it, and this is clearly a metaphor for what he considers people general inaction against the string of migrant assaults.

Sanders whips out his phone and shows the judge his own speech after his decision to free the 6 teenagers. The judge is shown saying that the crime the 6 teens perpetrated on the 14 year old girl, were “a cry for help.” And says that the perpetrators are also victims. The judge claims ‘society’ is failing  to integrate teenage migrants, as apparently don’t give them help to function by our laws and our rules.

Since Judge Reinold wasn’t willing to enact even decent justice then Sanders is obliged to apparently take up the slack for Reinold’s  by visiting the family home of Yusuf, one of the perpetrators and despite protestation from  his father who blocks Sanders at the door and suggests he talk to their OSF funded lawyer. Yusuf, is initially aggressive but being shot in the in the leg by Sanders seems to settle him down.

What are you doingk? Yusuf repeats like a vanquished foe trapped in an NPC dialogue loop whose kill-quest is fully updated when he is summarily shot in the chest with much bursting of pyrotechnic blood bags.

His mother and sister in particular, seem to be fully supportive of Yusuf, despite his crime and the sister even says that English gurls “dress wrong and make boys horny with miniskirts showing legs and breasts. the girl deserved it.”

Sanders interrogate their father and asks him: “Are these the values you are teaching your children?” he replies: “I teach him the values from Quran and the values from our family.” To which Sanders replies with a very polite put down that perhaps the good ones aren’t the ones coming into the country, and that it could be problematic for them to have  commitment to their archaic value system above democracy and rule of law, is another ‘I’ve swallowed a sociologist’ moment from Sanders. Fortunately he shoots them all so we are spared any more lectures for the moment.

It seems that because of the family’s refusal to feel any genuine guilt of  culpability that Sanders summarily executes Yusuf and his whole darn family whose testimonies seem to make them cultural accomplices. He had threatened Yusuf into having all the other offenders come over to his place and after killing the family Sanders awaits the next two to arrive. The dead look much more like they’re all just sleeping or just a bunch of actors pretending to be dead, and frankly the film doesn’t really try too hard using cinematography or makeup to really try to convince you otherwise.

The low-key dark comedy of the film shines bleakly and irreverently as Sanders coaxes the next accomplices in, and despite everyone in the room being dead, he soothes and coaxes the two thugs by telling them it’s ok, it’s ok. Which of course, it really isn’t and they only really start to notice anything is wrong when he shoots them.

Michael rings the wounded Henry in hospital and tells shim: “that the people will not accept a takeover” which is dog-whistle I suppose for the great replacement.

And he rightly points out that people never voted for “this is an unfriendly take over by Islamic extremists and blindsided woke left.”

The movie through the character of Sanders is delivering its threat or ultimatum:

“You end this or we the people will end it ourselves.  

The Channel 27 hologram then ties a neat bow and gives us some plausibly chilling statistics informing us 18,000 sexual assaults involving immigrants from Africa last year.

And the final rabble rousing message from Sanders is;

“ Remember I do this for you until you learn to do it or yourself.”

Of course it’s just a dark fantasy of justice in a world where our police force which has decided to side with the violent migrants against the native population in a hundred different ways we have all seen in the media these past few dreadful years in Communist Airstrip 1. 

So is this a piece of entertainment or it is a genuine example of agit-prop and a call to arms to unleash a wave of misguided vigilante violence. If the first is the case, then it is a masterfully crass exploitation of a very dire situation, however one bankrolled by the same group of people with the same long term interests as the very people behind the destruction of the British people in the first place.

So if it is the second, then insincerity abounds and one gets the feeling that the wound up British bulldog is being used as a pawn in an agenda bigger than them which doesn’t serve their interests but will exploit them.  

I will end this with the Christian perspective. A perspective which may seem less satisfying to those eager for brutal justice. But such justice does not exist in the real world outside the caped avenger comic book and movie fantasy and besides, the bogey man of the white working classes rising up would be perfect to allow the establishment to finally have their white bogey man.

Having just finished reading the collection of short stories by Leo Tolstoy Master and Man, while trying to complete this video, I came upon a good way to book end this review, in the story The Godson. The Godson tells us clearly with Tolstoy’s perceptive Christian genius, in the story of a son born to a poor peasant family who are so poor no one can be found to be god parents to him, but he ends up with a magical Godfather who once the boy has grown, meets him and tells him he can live in a beautiful pavilion with a golden roof in the midst of a wondrous garden. He is led to series of room each more magnificent and enchanting than the last until he is taken to a door to a room   which is not locked, but it has seals,. Of course he ends up going into through the door. Beyond the door are more rooms, even more splendid than the last, etc, but he sees a great golden throne in the midst of all these fabby rooms.

He climbs the steps to ascend the throne and a sceptre appears in his hand and the walls of all the other rooms fall away and instead he can see the whole world and everything that is happening. He sees his family suffering and uses  new God like powers acquired by the throne and sceptre  to appear to help them, by doing evil to the evil being done to them. But he finds the consequences of his acts make matters far worse. And he must then learn a lesson about how evil cannot be beaten with evil   

And this is always what troubles me about this film. It’s the film we need right now, for the sake of the truth, and exposing the truth is God’s work, and it's one thing to protect yourself and your family from harm, but to call people to do that against a daily growing Islamic force of millions in this country, when the police, courts, media and politicians and even the corporation are united in true Fascistic tyranny to  supplant you from your own country, you’d be taking part in a fight where the referee, the judges and even most of the people in the area would be against you, even the very ring itself is designed to give the opponent every advantage, these is no winning this battle through physical force. So although I would say enjoy the film and its cartoonish kicks, don’t see this as any kind of call for an uprising because I do not think the outcome of that would be any good for our people in a crooked game.