Banned 'anti-migrant' movie 'Citizen Vigilante' shoots to No. 1 after Elon Musk intervention



A film that is triggering progressive critics is becoming a viral sensation after the director called it "an inconvenient truth."

The movie stars actor Armie Hammer as a man who takes justice into his own hands after he feels the government and law enforcement have failed to protect their citizens.

'Racist, xenophobic, ethnocentrist.'

'X' rated

"Citizen Vigilante" has been called "anti-migrant," "racist, xenophobic," and "incomprehensible," yet audiences seem to love it.

With a fan score of 94% on popular review site Rotten Tomatoes, critics seem once again to be at odds with audiences while drawing a political line in the sand.

A huge social media push has seen the movie top the streaming charts, with multiple outlets reporting on Monday that "Citizen Vigilante" soared to No. 1 on Amazon Prime's "Top 10 movies to rent or buy," where it still stood at the time of this writing.

The film was reportedly No. 2 on Apple TV's top movie list on Monday as well.

This all came after X owner Elon Musk posted "Citizen Vigilante" for free download on his platform last Thursday — with director Uwe Boll's permission — garnering at least 8 million views by Musk's own account.

Boll responded on X, "Dear Elon thank you. Donald Trump needs to see the film."

RELATED: 'Citizen Vigilante': Outlaw director takes unflinching look at migrant violence

Banned abroad

By all accounts, the film draws on anti-immigration sentiments that are becoming popular around the world, and even references real-life migrant crimes for its story.

The movie has already been banned in Germany because it was found to be "inciting violence against migrants," director Boll told Variety in June.

Boll called it "deliberate censorship" that was "on purpose."

In an email to Newsweek, the director said his movie "shows an inconvenient truth what all other movies out there don't want to show or try to sugarcoat in their productions."

Boll added, "The audience wants real films again — bold and with impact and about reality."

Bans and negative reviews have been overtaken by the film's momentum, and the flick was just acquired by Quiver Distribution for a worldwide push, except for in the U.K., German-speaking territories, South Korea, and Taiwan.

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Many such (angry) cases

Many critics have not enjoyed the film, with some reviewers declining to even score it.

For example, Stefan Birgir Stefans called the film "brain dead" and gave no score, while Variety's Todd Gilchrist similarly gave no rating and said the director was "deliberately sabotaging his star."

Nicholas Bell said the film was "magnifying its xenophobia through the beacon of far-right agitprop," while Joseph Robinson called it "a discriminatory parable."

It was U.K. outlet the Guardian that dubbed "Citizen Vigilante" as "anti-migrant" on Tuesday, with Ready Steady Cut describing the film as "utterly incurious and incomprehensible, but politically barbed."

Critic Jonathon Wilson argued the film was for people who believe "immigrants are to blame for all the violent crimes in the West to see as a rubric for defending their homeland."

Tyler Thier of In Review Online summarized the movie as "racist, xenophobic, ethnocentrist, alt-right agitprop manufactured to piss off the 'woke Left.'"

The consistent use of "agitprop" by reviewers is, interestingly enough, a reference to pro-communist propaganda used by the Soviet Union.

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Duty To Disobey Spotlights The Heroes Punished By Biden’s Military Covid Shot Mandate

Imagine sacrificing the comforts of a normal life to serve an institution you believed was worth joining. And then imagine that very same institution — the one you’ve poured your blood, sweat, and tears into for years — turns on you and brands you the enemy. For the more than 8,000 U.S. service members booted […]

REVIEW: 'Supergirl'

Movie genres run out of steam. It has ever been thus. So many Westerns were made in the first half-century of the American cinema that they still outnumber any other genre, but they're a footnote now. Gangster movies were all the rage in the 1930s, films noir in the late 1940s, musicals from the Depression to the swinging '60s, and teen comedies in the 1980s and '90s. They seem to settle in forever… and then they fade. So too with the dominant genre of the 21st century, the superhero picture.

The post REVIEW: 'Supergirl' appeared first on .

Amazon drops Sam Altman biopic — and everyone wants to know why



Amazon has walked away from a nearly finished biopic about OpenAI CEO Sam Altman, prompting questions about why a film centered on one of Silicon Valley's most powerful figures suddenly needs a new distributor.

The $40 million film "Artificial," which starred "Spider-Man" actor Andrew Garfield as Altman, was reportedly nearing completion when Amazon struck it from its 2027 release schedule. The project — which also stars "Mad TV" and "Eastbound and Down" alum Ike Barinholtz as Elon Musk — is now being shopped to other studios.

'All I hope is that if he puts me into a gulag, it's one with all of my friends. That way we can have a party.'

Unlikable characters

According to Variety, the film performed well in multiple test screenings, with one viewer telling the outlet that Altman and Musk were the two characters audiences "liked the least."

Some observers have pointed to Amazon's deepening ties to OpenAI as the reason for the change of heart.

RELATED: It only took weeks for AI usage to break the corporate piggy bank

In February, OpenAI announced a major collaboration involving SoftBank, NVIDIA, and Amazon.

"Helping AI reach more people requires deep collaboration across the ecosystem," OpenAI said at the time.

'Utmost respect'

Amazon's role in the partnership includes helping Amazon Web Services customers build AI applications and agents using OpenAI technology. The collaboration powers the Stateful Runtime Environment for Agents in Amazon Bedrock, which the company says can be used for customer support, sales operations, IT automation, and financial workflows.

While some observers have connected Amazon's decision to those business ties, neither Amazon nor the filmmakers have suggested that was the reason for the split.

Instead, Amazon framed the move as a decision about the film itself.

"We have the utmost respect and admiration for Luca Guadagnino as an award-winning filmmaker — not to mention a longstanding relationship that we hope to continue," an Amazon spokesman told Variety.

RELATED: Sam Altman described as 'sociopath' by board member in brutal insider report: 'He's unconstrained by truth'

Mondadori/Getty Images

Gulag guy

The company added: "We believe that 'Artificial' will be better served if it were released by a different studio and are working closely with the filmmaking team to find the film a new home."

Some online observers have also pointed to Altman's appearance at Jeff Bezos' wedding last year, though there is no public evidence linking that relationship to Amazon's decision.

Barinholtz appeared less interested than some actors in conducting firsthand research for the role. Asked by Variety in September 2025 whether he had considered meeting Musk, the actor replied, "I'm OK," adding that the Tesla CEO was "famous enough that you get it."

The 49-year-old later joked, "All I hope is that if he puts me into a gulag, it's one with all of my friends. That way we can have a party."

Garfield said he was initially reluctant to take the role after previously portraying Facebook co-founder Eduardo Saverin in the 2010 film "The Social Network."

"I've been very, very gun-shy around other films that deal with the same world," Garfield told Vanity Fair in November 2025. "And yet I wanted to dive into the psyche of a guy who wins — because I played the guy who arguably doesn't win, because he's too touchy-feely."

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'Citizen Vigilante': Outlaw director takes unflinching look at migrant violence



You can’t accuse director Uwe Boll of having thin skin.

Film critics have been brutal to the German filmmaker behind “Rampage,” “House of the Dead,” and “Postal.” He once challenged his harshest critics to a boxing match to settle the score.

‘If I have six neo-Nazis raping a migrant girl, there would be no issues. Unfortunately, the criminal statistics show the [opposite].’

He knows he’ll never be an awards season darling, so when a reviewer dubbed him a “right-wing fascist” over his latest film, he shook it off like a glancing uppercut.

He saw those comments coming a mile away.

Culture war TKO

Even by Boll’s pugnacious standards, “Citizen Vigilante” is a culture war TKO. Armie Hammer, working his way back after personal revelations crushed his career, stars as a man fed up with migrant violence in Europe.

So he decides to do something about it. Think “Death Wish” with an agenda no Hollywood studio would touch.

Boll tells Blaze Lifestyle the aforementioned reviewer has every right to dislike “Citizen Vigilante,” out in the U.S. today, but he takes issue with that political slam.

“What is right-wing in saying rapists should not get off the hook?” Boll asked. Critics of unfettered illegal immigration point to high-profile cases where violent migrant offenders were spared harsh sentences.

Pardoning predators

The zeitgeist is in Boll’s corner in more ways than one.

“Citizen Vigilante” arrives days after a shocking U.K. rape gang inquiry report detailed chronic abuse across Great Britain. Migrant crime isn’t relegated to the U.K., an issue Boll explores in his violent, politically incorrect film.

For Boll, hearing stories of sexual predators getting slaps on the wrist proved bad enough. Reading reports of judges excusing the violence based on a perpetrator’s brutal youth enraged him.

“Newspapers called them poor, traumatized people who grew up with violence ... but who gives a s**t? ... Maybe they’re traumatized. Why are we importing them?” he asked.

“I have nothing against migrants — if they follow the rules and the law,” he added, accusing European news outlets of diminishing statistics tied to migrant crime.

“I have no words for it. ... It’s the most absurd thing in my lifetime,” the 60-year-old filmmaker said.

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swiftboatproject.com/x.com/weekend_bidens

Unflinching violence

“Citizen Vigilante” lets Boll respond to those heartbreaking news stories sans filter. Hammer’s character seeks justice when the courts fail to dole out what he thinks is sufficient punishment.

The on-screen violence is unflinching.

“It’s the only movie out there that shows brutally the situation,” he said, noting that he included a shocking murder in the film’s opening scene to highlight the security concerns citizens face.

He’s also angry that his home country refused to rate his film and, more recently, banned it from theaters for allegedly promoting vigilante behavior. The ratings decision boils down to politics, he alleged.

“If I have six neo-Nazis raping a migrant girl, there would be no issues. Unfortunately, the criminal statistics show the [opposite],” he said.

He said he appealed the ratings decision to three separate guilds — directors, writers, and producers.

“I’m a member for 30 years. ... Nobody even answered. Dead silence,” he said.

As for promoting violence, Boll said the film’s context drew his homeland’s ire, not the on-screen mayhem.

“Any Jason Statham movie would incite violence [too],” he argued, noting the action star’s penchant for heroes who take the law into their own hands.

“If [British Prime Minister] Keir Starmer sees ["Citizen Vigilante"] he will maybe put an arrest warrant out on me,” Boll said, perhaps tongue in cheek. Perhaps not.

Boll’s blacklist

Germany’s banishment wasn’t the only obstacle he faced while preparing “Citizen Vigilante” for its theatrical run. The film’s director of photography refused to be credited on the project, saying it might cost him future jobs.

Boll said Croatian officials offered him tax rebates to shoot “Citizen Vigilante” in the country, but the rebates were rescinded mid-production.

Hollywood has been abuzz with talk of free speech and alleged censorship by the Trump administration. Boll said he hasn’t gotten support from any Hollywood artists, and his fellow citizens aren’t much better.

“In Germany they’re all hanging onto [film] subsidies. ... They’re all very careful,” he said, noting that a few actors reached out privately.

“You’re totally right, but don’t name me,” he recalled of their messages.

Blind casting

Boll isn’t just critical of the migration issue. He’s that rare storyteller who doesn’t pledge allegiance to DEI policies in the arts.

“I cast the way I should cast, not like I need X amount of Asians or X amount of blacks. ... I hire people based on their qualifications, ... not based if you’re a lesbian transgender Asian. ... That’s how it has to be.”

Hammer’s character in “Citizen Vigilante” may reflect a cinematic antihero that dates back to Clint Eastwood’s “Dirty Harry” days in the early 1970s. Boll had little interest in deifying his film’s judge, jury, and executioner.

“He’s not this white knight guy. ... He’s a loner. He’s also able to do the actions he’s doing ... to execute them properly. ... That’s a more realistic approach,” he said. “Audiences should discuss it for themselves. ... Is he going too far?”

Full 'Disclosure': Steven Spielberg's latest has no signs of intelligent life



Damon Packard's movie diary

Damon Packard is the Los Angeles-based filmmaker behind such underground classics as “Reflections of Evil,” “The Untitled Star Wars Mockumentary,” “Foxfur,” and “Fatal Pulse.” His AI-generated work recently appeared as interstitials for the 18th annual American Cinematheque Horrorthon and can be enjoyed on his YouTube channel. After a long day making movies or otherwise making ends meet, he likes to unwind with late-night excursions to the multiplexes and art house cinemas of greater Los Angeles.

May 20, "Obsession" (d. Curry Barker), AMC Century City 15

This movie is exactly the kind of hollow, dystopian misery porn that brainless contemporary culture keeps walloping with praise. I found it tedious, annoying, and dull.

I know this has nothing whatsoever to do with De Palma’s "Obsession," but at least DePalma's film (and its inspiration, Hitchcock's "Vertigo") knew how to seduce you with mood and atmosphere, mystery and romance. I'll take a single dreamy close-up of Genevieve Bujold in soft diffusion filters over an hour of a possessed, shrieking, creepy, clingy girlfriend.

At some point in the last act, there was a lot of screaming and noise in the theater, and they shut the film off because someone had a seizure or something. So I was spared suffering through the rest.

As I left, I heard Bernard Herrmann's music in my head. I watched the paramedics arrive. They all looked jaded and took their time pushing the gurney into the elevator. I walked past the huge "The Mandalorian and Grogu" forest planet display they have out front of the AMC Century City, and Herrmann's music seemed to keep following me.

And then I saw her. A Geneviève Bujold look-alike drifting silently past the Funko Pop claw machines in a cream-colored coat, soft curls glowing under the multiplex exterior lights. She turned slightly, just enough for me to catch the resemblance, and then vanished onto the escalator like the ending of a forgotten De Palma dream.

May 29, "Backrooms" (d. Kane Parsons), AMC Century City 15

You know you're in trouble when the first two minutes are instant boredom and the rest doesn't get any better. Yeesh, what a waste — ultimately an endurance test to get through. Not a single interesting moment or idea.

I like that actor Chiwetel Ejiofor, but what the hell is he doing in this? Not only is he miscast, but he's above this kind of tripe.

When I hear them praising 'Disclosure Day,' I'm like George C. Scott in 'Hardcore' when he finds out his daughter has been abducted into the porn industry.

I would have hoped a 20-year-old boy-wonder director would bring the reckless energy to make something at least half watchable, but nope, just as horrible, bland, lifeless, dull, and dumb as every other thing the clueless moron masses who wouldn't know what a good film was if their life depended on it flock to.

Sam Raimi was 21 when he made "Evil Dead"; Steven Spielberg 24 when he made "Duel"; Orson Welles 25 when he made "Citizen Kane"; Bernardo Bertolucci 22 when he made "Before the Revolution"; Louis Malle 23 when he made "Elevator to the Gallows." Now THOSE were great films.

Spielberg is now 79, and "Disclosure Day" looks like a bland, generic, insipid pile of direct-to-Tubi junk. But is it really age and vitality, or is it that nobody can write good stories any more? Or that nobody would finance one if it even existed?

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Mike Malloy/Damon Packard/Cinerama/Manuel Velasquez/Getty Images

June 2, "Pressure" (d. Anthony Maras), AMC Century City 15

Just when you thought every WW2 story had been exhausted over the last 80 years, along comes this little $5 million production set within a world of dueling weathermen!

What immediately sounds like mundane, made-for-cable fodder turns out to be a surprisingly terrific and engaging little movie, with an interesting perspective and new take.

Mostly due to the things you rarely see in films these days: good writing, good music, good direction, and interesting characters. Superb performances and casting all around, even for the initially perceived as a terribly miscast Brendan Fraser, who gives it his all and wins you over in the end. Special mention to the lovely Irish actress Kerry Condon, who makes a perfect 40s military babe.

Nothing phenomenal, but as far as mainstream theatrical releases, it is one of the best I've seen this year so far and a reminder some people still know how to make proper films (even if they are shot on the Arri Alexa 35 and technically shouldn't be called "films").

June 6, "The Doors" (1991, d. Oliver Stone), Vista Theater Hollywood

Caught a late show in 70mm last night. Which looked beautiful but seemed to be missing the subwoofer channel or something. The sound was all high and mid frequencies, zero low end. Not sure what the deal was there, a print issue or something not switched on? A projectionist might know the answer.

I really like this film, and it always brings back certain feelings and memories of sneaking onto the set with my friend Chad and joining the background actors at 3 a.m. at the Whiskey back in 1990. The cult worship of Morrison is not dead; there were girls screaming in the theater. The Vista still has a bag-checking policy; therefore I always make it a point to sneak in food and drink just on principle

June 12, "Disclosure Day" (d. Steven Spielberg), AMC Burbank 16

Caught a nice and empty 11:30 p.m. showing of "Disclosure Day" last night. Talk about a moronic, bland snoozefest. The latest major mega-embarrassment from an aging cine-Boomer. So incredibly dumb, dull, and out of touch that you just sit there half awake in a stunned stupor, taking it all in while trying to stay awake.

How anyone can actually defend this is beyond me. It never ceases to amaze: No matter how awful some new mainstream pile of garbage is, there are plenty of defenders — people (clueless, brain-dead walking software programs) who have zero proper film knowledge or education or interest and wouldn't know one way or the other.

When I hear them praising something like "Disclosure Day," I'm like George C Scott in "Hardcore" when he finds out his daughter has been abducted into the porn industry. Oh, never mind, that's another film and actor you've probably never heard of.

The John Williams score is good. Spielberg may not have it any more, but Williams still does.

June 17, "The Furious" (d. Kenji Tanigaki), AMC Marina Marketplace 6

Caught a late show of this this mostly pretty darned awesome and entertaining Hong Kong action film.

It feels very much like the kind of creative (and at times goofy and hilarious) Hong Kong martial arts exploitation films we were getting in the 1980s. With a lot more blood and violence.

Top-notch fight scenes, even if they get a little overlong in the third act (which is typical). American action movies that borrow from Hong Kong can never come close to the real deal, and this here is seventh-generation Asian action fight choreography done right.

The AI lip sync is a completely flawless and amazing tool, for those who have never seen it. (I'm pretty sure with all the idiotic knee-jerk AI hatred right now, they don't want people to know they're using it, even though it's impossible to tell.)

Only wish I saw this in a better theater instead one of the few non-upgraded multiplexes in this area, with muddy images and weak sound. It's stuff like THIS that should be dominating the premium screens.

Still, I'm grateful we get little surprises like this in an otherwise predictable world.

REVIEW: ‘Toy Story 5’

The original Toy Story is not a movie about children. It’s about envy, status anxiety, and a workplace that threatens to become toxic. The boss happens to be a little boy, the workplace is his room, and the envy and status anxiety are the tribulations of Woody the Cowboy. His standing as the little boy’s favorite toy, and therefore the most important worker in the room, is threatened by the introduction of Buzz Lightyear, the boy’s new Christmas present. Bombastic and humorless, Buzz does not know he is a toy, and yet he enchants everyone in the room besides Woody—who undertakes a plot to get rid of Buzz that leads the others to believe he is a murderer.

The post REVIEW: ‘Toy Story 5’ appeared first on .

Masters Of The Universe Is A Fun Throwback To When Good Guys Were Good And Bad Guys Were Bad

Besides its anti-woke themes, Masters of the Universe is one of the few modern movies that seems to actually be having fun. It understands what kind of movie it is and embraces it.

Idris Elba: Black James Bond was never 'realistic' possibility



An actor who has long been rumored as the next James Bond has finally put his cards on the table.

During an interview in GQ, Idris Elba stopped talking about how hates interviews long enough to discuss the future of the iconic franchise.

'In realistic terms, some markets just don't go for that.'

The 53-year-old Brit began by addressing the more than a decade of speculation that he would take over the role from Daniel Craig — making him the first-ever black 007.

"It was never legit. It was always just a rumor," Elba told the outlet.

License to chill

The London-born Elba, whose mother and father hail from Ghana and Sierra Leone, respectively, said that fans simply took the rumor and ran with it.

"I've always felt that it's not a realistic thing," Elba continued. "James Bond was written how he was written for a reason. But I was complimented by it."

Elba suggested that for many fans, Bond's white, Anglo-Saxon ancestry is part of what makes him Bond.

"[S]ome markets just don't go for that," he said. "Bond is big all over the world. And [audiences] won't [all] go for a black male, an African male, playing Bond. That's not what they like in their culture. Period."

While Elba — whose full legal name is Idrissa Akuna Elba — said he was not opposed to other attempts to revamp Bond to appeal to modern audiences, he said he would draw the line at anything "woke."

RELATED: Iconic actress tells 'James Bond' star to his face: 'James Bond has to be a guy'

Mike Marsland/Getty Images/Omega

Shaken, not stirred

"Bond is so unrealistic, so a hint of reality is good, but let's not try and make it woke," Elba told the magazine. "I think you've got to be pure to what it is: escapism. Don't try and answer the world's taste. Just be Bond."

Elba is far from the only A-lister to come to Bond's defense. Last year, while doing press for "The Thursday Murder Club" with former Bond actor Pierce Brosnan, Helen Mirren shut down his musing that it was time for a woman to take on the role. "I'm such a feminist, but James Bond has to be a guy. You can't have a woman. It just doesn't work," said Mirren.

Brosnan, who played the spy in four films from 1995 to 2002, had previously suggested the recasting in September 2019. "Get out of the way, guys, and put a woman up there," Brosnan said at the time.

RELATED: Top 5 women who fought back when coming face-to-face with crooks

Keith Hamshere/Getty Images

Agents of change

Much of the impetus to change Bond's sex or ethnicity seems to come from the white males who have played him.

In 2008, just two years into his tenure as Bond, Daniel Craig opined that the next actor to play the spy should be black.

"If we can have a black U.S. president, we can have a black James Bond," Craig said after Barack Obama's election, per the Daily Mail.

Craig, who went on to play Bond for another 13 years, presumably meant when he was finished with the role.

The most recent actor to portray James Bond was Irishman Patrick Gibson, who portrayed and voiced the video game character of Bond in 007 First Light (2026).

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