a vigilante 2019 movie review

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"A Vigilante," which stars Olivia Wilde as a domestic abuse survivor who remakes herself as an avenging angel, is one of those small but brutal films that major directorial careers are made from. Every frame of it feels measured and thoughtful, even when the camera gets so close to its heroine's pain and rage that just looking at her is an uncomfortable experience. Written and directed by first-time feature filmmaker Sarah Daggar-Nickson , it's a movie-as-weapon. The evident smallness of the production belies its power to disturb. It's like one of those knives that are small enough to be hidden in a coat sleeve or the lip of a boot but that can still cut a man's throat.

And in this film, the recipient of violence would definitely be male. A feminist revenge thriller in the spirit of "Ms. 45," " Enough ," and 2017's bluntly titled "Revenge," this is a film about societally tamped-down rage over mistreatment and abuse finally welling up and exploding in the faces of men who lord their superior physical strength and patriarchal authority over women and children.

The movie begins with a sequence that could well be the premise-establishing prelude to a TV series like the original " The Equalizer ": following a sequence of shots establishing a bleak midwinter setting, the heroine, Wilde's Sadie, is seen working a punching bag, the camera so tight on her face and upper torso that the swinging motion of her fists makes the viewer feel battered. Then it moves into a "mission," with Sadie visiting the home of a man who's abusing his wife and child, beating him to a pulp (much to his surprise; he thought he'd be able to incapacitate her with one blow) and then ordering him to turn over most of his money to his wife and leave their lives forever.

Obviously, not only is Sadie's approach not an emotionally, socially or legally acceptable way to handle that kind of situation, it's probably unrealistic, but no more so than a scenario in "The Equalizer" or " The Punisher " or one of those grungy private eye films where the hardboiled hero shows up in the home of a very bad man and quietly tells him how things are going to be from now on.

But one of the things that distinguishes "A Vigilante" from other vigilante films is its interest in the physical effects of violence (the aftermath in particular), and the toll that Sadie suffers both as a domestic abuse survivor and as someone who has committed to doing more violence order to better the lives of fellow victims and assuage her own feelings of thwarted justice. Sadie's husband—who is played by Morgan Spector , but is such a loathsome figure that the film refuses to name him—has committed even more unspeakable acts than you might imagine from reading this piece. He's the movie's Big Bad, he's still out there somewhere, and as soon as the film reveals this (fairly early), you start imagining a confrontation that "A Vigilante," in its proud pulpiness, isn't about to deny you.

"A Vigilante" is upfront about being a cathartic fantasy, starring a conventionally beautiful and physically fit star who could play a superhero (and sort of already is playing one here, when you think about it; put a cool costume on her and you've got a female Frank Castle). The only thing I can say against it is that it doesn't seem to have fully thought through the implications of reveling in fantasies of payback and control while also going out of its way to emphasize the real-world impact of Sadie's suffering and the brutality she visits on (deserving) others. The gold standard for this kind of movie—recently, anyway—is writer-director Lynne Ramsay's " You Were Never Really Here ," which also verged on turning into a Batman movie sometimes, but offered a slightly more nuanced take on the story of a PTSD-suffering, lethally skilled loner moving through a twilight world of crime and violence. It's a badass movie that remembers that it's not supposed to feel badass but can't always resist the urge and might not be able to resist it, given the kind of film that it is. All of its characters except Sadie are psychologically rather thin, existing mainly as satellites orbiting around the North Star of its heroine's fury. But this, too, ultimately feels like an equalizing impulse. If an inability to avoid getting high on your own supply were a deal breaker in vigilante cinema, there wouldn't be any vigilante movies. Ditto the tendency to favor the main character's issues over everyone else's.

And it's also important to note here that, although we've seen a number of movies over the decades putting the spotlight on female avengers, such films are still comparatively rare, whereas similar stories about men could fill up very fat reference books. And the movies starring women (whether directed by women or men) tend to be more aware of the ironies, contradictions and inconsistencies embedded into the very idea of a revenge fantasy than a lot of films starring, say, Clint Eastwood , whose vengeance-driven thrillers are suffused in disgust and regret but (when they starred Clint, anyway) made sure to make the hero look as mythologically awesome as possible while doing things that theoretically poisoned his soul. "A Vigilante" spends more time showing the debilitating psychological impact of violence, both on Sadie and on the families she's trying to help, than almost any revenge thriller I can think of.

And Wilde's performance is so committed that there are times when you may fear for her physical safety and emotional health. It's not just the bruising scenes of fighting and torture that unnerve, it's the many protracted scenes of Sadie weeping over her personal losses, runny-nosed, red-faced, at times nearly hyperventilating at the unfairness of it all. This is a raw performance that sometimes steers close to psychological self-mutilation. If a male star gave it, we'd already be talking not just about whether it was prize-worthy, but how many it should get.

Matt Zoller Seitz

Matt Zoller Seitz is the Editor at Large of RogerEbert.com, TV critic for New York Magazine and Vulture.com, and a finalist for the Pulitzer Prize in criticism.

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Film credits.

A Vigilante (2019)

Rated R for violence and language.

Olivia Wilde as Sadie

Morgan Spector as Sadie's Husband

Kyle Catlett as Zach

Cheryse Dyllan as Charlene Jackson

Sarah Daggar-Nickson

Cinematographer

Alan McIntyre Smith
Matthew C. Hart
Ben Baudhuin
Danny Bensi
Saunder Jurriaans

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‘A Vigilante’ Review: Vengeance Is Hers

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By Manohla Dargis

March 28, 2019

The monsters in “A Vigilante” look deceptively ordinary. One wears an everyday business suit and tie; another is dressed in a simple T-shirt and pants, though it’s hard to make out what he’s wearing because he’s trussed up, on his knees, beaten down. Abusers, each endures the kind of ostensibly righteous retribution that tends to be visited on men by other men in exploitation flicks like “Death Wish.” On occasion, a woman steps into the vigilante role — at times, after she’s raped, as in “I Spit on Your Grave” — seeking personal payback through a violent cleansing that can widen into a feminist critique.

The writer-director Sarah Daggar-Nickson shrewdly doesn’t lead with politics in “A Vigilante,” instead letting them surface as a matter of course as she fills in the satisfyingly lean, mean story. It centers on Sadie (Olivia Wilde, all in physically), who after fleeing her husband has become a lone-wolf avenger of other abuse victims. They reach her by phone, leaving the same cryptic S.O.S. — “I’m looking out the window, and the trucks won’t stop coming” — before detailing where they live and when it’s safe for Sadie to visit. “I have two children who come home at 4, and I don’t want them to get hurt,” one woman tremulously explains in her message. “He’ll hurt them if I leave.”

Vigilantism is a questionable fantasy of empowerment, but Daggar-Nickson makes her movie (largely) work by keeping everything — her antihero, the registers of violence — austere and persuasively low key. By the time the story opens, Sadie appears to have been at this vengeance business for some time. She has her routines and her disguises, and a map fixed to the wall. She’s either running or on the hunt; it’s unclear. She lives in what looks like a motel or just the saddest, emptiest of homes, where she sleeps with a large knife under her pillow. Every so often, she starts hyperventilating, spiraling into panic that is eased only by a drawing that she clutches to her like a lover or a child.

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A Vigilante Reviews

...powerful rumination on domestic violence...

Full Review | Original Score: 17/20 | Apr 1, 2021

A powerful debut feature with a commanding performance from Olivia Wilde that will hopefully see them both lean more into genre films in future projects.

Full Review | Original Score: 3/5 | Feb 5, 2021

Wilde is fine, but the film never scores its punches as it keeps packing more and more on...

Full Review | Original Score: 2/4 | Jan 19, 2021

A Vigilante is an incredibly tough watch, but it may be a necessary one for many.

Full Review | Jul 20, 2020

It's a very impressively-made film. [Writer-director Sarah Daggar-Nickson]'s visual sense of style, her command of an elliptical style is really strong -- for 60 minutes... The last 30 minutes are fine, but it's not on the same level.

Full Review | Sep 24, 2019

Wilde delivers the most captivating performance of her career, but she does so in service of a contrived story that, when it's not straining credulity, offers few surprises.

Full Review | Original Score: 3/5 | Jul 16, 2019

Like having a good cry, you will walk away from 'A Vigilante' a more emotionally and mentally enriched person. The awareness it brings and the journey that star Olivia Wilde takes you on (in a career-best performance) make it rewarding.

Full Review | Original Score: 3.5/5 | Jun 10, 2019

Wilde is spectacular. Writer-director Sarah Daggar-Nickson navigates with understanding and skill - her heroine is surprisingly believable, though that's partly because we want to believe.

Full Review | Original Score: 4/5 | Jun 4, 2019

The first half is fascinating, but the picture loses its momentum during the second hour.

Full Review | Original Score: 2.5/4 | Jun 2, 2019

The film doesn't work without this character's pain, and Wilde absolutely sells it, a spectacular performance.

Full Review | May 31, 2019

The pauses occasionally stall the narrative, but Wilde is a captivating presence, the rage inside her character, curiously, given more weight by the passiveness of her expressions.

Full Review | Original Score: 3/5 | May 31, 2019

[A] patient, nuanced film-making that showcases, in Wilde, a muscular and increasingly versatile screen talent.

Full Review | Original Score: 4/5 | May 31, 2019

A timely and important drama with a strong message.

See A Vigilante for Olivia Wilde's performance and the message it offers, but don't say I didn't warn you that it is an incredibly arduous film to watch.

It's a tough, tense movie with a couple of bone-snappingly violent moments, but critically it dials down the exploitation.

Full Review | Original Score: 3/5 | May 29, 2019

While it plays more like genre thriller than deep-dive drama, there's plenty to admire in the way in which director and star have chosen to tell this sadly familiar story.

Full Review | Original Score: 4/5 | May 28, 2019

As a work of cinema, A Vigilante certainly makes for a solid revenge thriller from Sarah Daggar Nickson.

The director cooks it slow and steady, balancing the tension throughout. Yet, she never provides that spine-chilling effect one constantly seeks in a film of this nature.

Full Review | Original Score: 3/5 | May 2, 2019

A delicate and clever study of lasting scars both inside and out. Skillfully straddling the line between mourning and hope, A Vigilante delivers a precious commodity we too rarely see at the movies: sincerity.

Full Review | Original Score: 8/10 | Apr 2, 2019

The film never full escapes the parameters of its subgenre... but Dagger-Nickson's focus on the emotional toll of abuse and Wilde's hollow rage are perpetual reminders that closure for its victims is hard won, at best.

Full Review | Original Score: 7/10 | Apr 1, 2019

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Olivia Wilde Goes Full Charles Bronson in the Brutal Revenge Thriller ‘A Vigilante’

In 'a vigilante,' olivia wilde plays a renegade feminist dedicated to saving women and children in peril and destroying the men who abuse them..

In the opening scene of a violent film about female empowerment in extremis called A Vigilante , a man comes home from work, collapses on the sofa and finds himself confronted by a tough woman who looks like Olivia Wilde after a middleweight championship bout with Rocky Graziano . Egad, it is Olivia Wilde, playing Charles Bronson in her first important role as a lady juggernaut called Sadie.

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The man on the sofa is shocked to hear Sadie say, “Today you will do the following three things: You will sign this house over to your wife. You will transfer 75 percent of your funds to a bank account in her name. And you will leave for good.”

“Who the hell are you?” he asks. She knocks him to the floor and, covered with blood, he’s forced to sign over his assets and exit through the front door, passing his astonished but grateful wife on the way out.

)
Sarah Daggar-Nickson
Sarah Daggar-Nickson
Olivia Wilde, Morgan Spector, Betsy Aidem
91 mins.

It turns out Sadie is a renegade vigilante feminist dedicated to saving women and children in peril and destroying the men who abuse them. Her work apparently does not make her happy. For the next 90 minutes, we find out why, as writer-director Sarah Daggar-Nickson follows her through one miserable assault after another and gives Wilde a strenuous workout in the process.

She writhes on the floor. She sobs and gnashes her teeth. She attends women’s support groups, listening to the confessions of battered women shattered by domestic carnage, taking on new clients for whatever they can pay in food, money or a handshake. Agreeably, these people have value and deserve retribution, but watching so much nonstop physical and emotional anguish eventually grows tedious.

As the cases multiply, so do Sadie’s clients. Between assignments, she works out with punching bags and beats up her furniture, wearing a variety of wigs and disguises while she inflicts torture on hateful husbands, fathers and lovers. I guess I run the risk of being accused of chauvinism if I meekly ask why the men don’t call the cops or 911. Undeniably, her victims deserve to pay for their inhumanity, but a lot of actual logic goes missing.

Why are the men so weak? Why do they allow their heads to be bashed in with boards? In all fairness, it must be reported that Sadie doesn’t restrict her reputation as a female Rambo to men. Sometimes she turns abused children over to child protection services and beats the crap out of their mothers in the bargain.

No doubt there are more cases of domestic violence rampant in society than we know, but a movie about so many of them is not a pleasant experience. This one shifts abruptly at the one-hour point, when Sadie inevitably comes face-to-face with the mercenary ex-husband ( Morgan Spector ) who left her half-dead, murdered their son in a mad rampage and disappeared, making it impossible for her to claim his life insurance.

Sadie does have one rule: Anything goes as long as the job stops short of murder. But when this fiend ties her up, breaks her arm and seeks his own revenge by tracking her through the snow to a final showdown, she breaks her own rule while the audience cheers. The last half-hour is such a storm of sadism that it is not always watchable, but Wilde is both sympathetic and repellent, conjuring a variety of moods to paint a harrowing portrait of a woman picking up the pieces of her broken life by fighting back.

Jennifer Lopez got there first, in Michael Apted ’s 2002 revenge thriller, Enough . But it’s still good to see a cunning and capable actress rise above her usual projects, such as stupid fodder like Tron or Cowboys and Aliens , or labels like “Sexiest Vegetarian Celebrity of 2010.” She’s very good this time around, and I reserve equal praise for the slimy verve and ruthless cruelty of Spector, who’s the creepiest thing on TV in Homeland .

After Enough and five Death Wish movies, the revenge genre is not without its recurring clichés, many of which get defrosted and microwaved again in A Vigilante . The point , if there is one, is that “heinous criminal felonies are acceptable if they are justified by a woman driven beyond the limits of reason.” As one battered wife says, “Every graveyard is full of people who didn’t make it.” The same is true of old movies gathering dust in Hollywood film vaults.

Olivia Wilde Goes Full Charles Bronson in the Brutal Revenge Thriller ‘A Vigilante’

SEE ALSO : Will Keen On Playing Vladimir Putin On Broadway in ‘Patriots’

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Sarah Daggar-Nickson

Olivia Wilde, Morgan Spector, Betsy Aidem, Tonye Patano, Kyle Catlett, C.J. Wilson

1:31

2/29/19 (limited)

| March 28, 2019

, although the movie itself comes close to elevating this material on its own. Even without Wilde's portrayal of a survivor of domestic abuse, who channels her rage and grief into righteous violence against abusers, writer/director Sarah Daggar-Nickson does not simply settle for making a gimmicky revenge thriller.

spends so much time examining the suffering of abuse and the challenges of escaping it, it's unfortunate that the movie's straightforward showdown focuses so much on violence perpetrated against the protagonist, as if all of that pain is only excuse to show more of it.

Saban Films

Summary A once abused woman, Sadie (Olivia Wilde), devotes herself to ridding victims of their domestic abusers while hunting down the husband she must kill to truly be free.

Directed By : Sarah Daggar-Nickson

Written By : Sarah Daggar-Nickson

A Vigilante

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SXSW Film Review: ‘A Vigilante’

In Sarah Daggar-Nickson's highly skillful debut feature, Olivia Wilde gives a defining performance as an all-too-human avenger of domestic abuse.

By Owen Gleiberman

Owen Gleiberman

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In one of the many scenes of churning fear and rage that make up “ A Vigilante ,” Sadie ( Olivia Wilde ), a crime-fighting desperado in upstate New York, sits in the living room of a respectable-looking middle-aged man and explains to him how things are going to be. She’s wearing a disguise — she has given herself the spirit-gum wrinkles and fuddy-duddy clothing of a primly officious lawyer — but there’s nothing concealed about her words. With an air of ice-cold calm, she orders the man to sign over three-quarters of his savings and quit his finance job, and to leave the home he’s sitting in forever. The movie then cuts to the end of the episode, when he’s a bloody mess, skulking out of the house with his life and dignity and future in tatters.

The man is a domestic abuser; Sadie has arrived to save — and liberate — his wife, with an attitude of pitiless wrath that leaves no room for doubt. She’s exactly what the film’s title says she is: an avenger who takes the law into her own hands, transforming herself into a brutally righteous underground heroine.

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“A Vigilante” operates in a zone that’s less demagogic and more morally precise. Sadie doesn’t kill her victims, and despite the echo of her name, she isn’t a sadist; she’s not a blood fundamentalist seeking payback. She’s out to rescue women who are trapped in a living nightmare, and by cutting their abusers loose she achieves a rough justice.

She is also a torn and fragmented human being, baptized in anguish, and Olivia Wilde’s nakedly emotional performance places her in a different category from all the male movie vigilantes (Bronson, Statham, etc.), or even the women like Uma Thurman in the “Kill Bill” films, who’ve exacted vengeance upon the evildoers who so deserve it. Sadie is a domestic-abuse survivor, and the movie, which unfolds with a prismatic time-leap structure that immerses us in every moment, is a rivetingly austere psychodrama that shows the audience what, exactly, is going on inside the heart and mind of someone who would dare to take on the role of living-room shadow warrior. Away from her mission, living out of cheap motels, Sadie weeps and rages, re-experiencing the trauma she suffered. Wilde shows you the place where terror and fury go through the looking glass and are alchemized into action.

We see Sadie in a support group, buried under the shyness of her despair, and after a while you realize that this is the “before” picture. Only later does she begin to figure out that with some Krav Maga training and tossed-together costumes, she can turn being a freelance vigilante into a kind of livelihood. Not all her victims are men; there’s one encounter with a sick puppy of a mother, who’s raising her two kids as prisoners, that’s more disturbing than anything in “Room.”

That said, “A Vigilante” is very much a myth of our time, dramatizing the rage that too many women have felt they needed to suppress. That’s why the movie has a solid shot to connect with art-house audiences. As an actress, Olivia Wilde has been something of a shape-shifter, but in this movie she seems to be burning through all her previous roles to find something essential. She grabs hold of the spectacle of agonized female anger, and does it with a grace and power that easily matches that of Frances McDormand in “Three Billboards Outside Ebbing, Missouri.”

As galvanizing as Wilde is, it’s Sarah Daggar-Nickson’s intensity of skill as a filmmaker that brings “A Vigilante” to life. This is her first feature, and she executes it with an economy of means that’s highly detailed, suspenseful, and emotionally direct. The Kingston, N.Y., setting is part of it — it’s just the kind of desultory place where you feel a mystery vigilante could thrive in the shadows. Sadie’s backstory isn’t merely frightening, it’s tragic (she lost her child), and the film leads, inexorably, to her confrontation with her own abusive husband, whom she has spent a long time searching for. He’s played by Morgan Spector, in a performance that’s rich enough to circumvent a number of clichés about domestic abusers. This highly cultivated man, with his soft surface, literally believes that violence, and control, are forms of love, and that’s the horror of it. It’s why he, and everyone like him, must be stopped. “A Vigilante” is something to see: the rare movie in which lone justice offers a catharsis that could be described as honest.

Reviewed at SXSW Film Festival (Narrative Spotlight), March 10, 2018. Running time: 91 MIN.

Production: A Badlands Entertainment, Emmett/Furla/Oasis Films, The Long Run, Uncorked Productions prod. Producers: Lars Knudsen, Andrew D. Corkin, Randall Emmett, George Furla, Ambyr Childers, Olivia Wilde, Allison Rose Carter. Executive producers: Thomas Benski, Bryan Reisberg, Wayne Marc Godfrey, Robert Jones, Arnaud Lannic, Babak Eftekhari, Arianne Fraser, Delphine Perrier.
Crew: Director, screenplay: Sarah Daggar-Nickson. Camera (color, widescreen): Alan McIntyre Smith. Editors: Ben Baudhuin, Matthew C. Hart. Music: Danny Bensi, Saunder Jurriaans.
With: Olivia Wilde, Morgan Spector, Kyle Catlett, C.J. Wilson, Tonye Patano, Chuck Cooper, Betsy Aidem, Judy Marte.

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A Vigilante Review

A Vigilante is a 2019 crime drama about a woman who comes to the rescue of abused woman.

The opening salvo of writer and director Sarah Daggar-Nickson ‘s powerful A Vigilante begins with a close shot of a woman working a heavy bag, punching with increasing fervor, a fury in her eyes setting a dynamic start to an unnerving movie experience. It’s a chilling start to a film that is often uncompromising in delivery a distressing story of rage and revenge.

Sadie ( Olivia Wilde ) has a haunted past, a victim of traumatizing domestic violence that has left her deeply scarred (emotionally and physically) and with great loss. Seeking help, she becomes entangled in group therapy, finding others like her, succumbing to a world shadowed with women in hopeless and desperate situations. Unwilling to allow the horror to continue, she takes matters into her own hands, training in self defense and disguise, offering her services to those who can find her, leveling a fierce blow of revenge on her victims with extreme prejudice.

Beginning with Sadie already on the job, aging herself with makeup and arriving at the home of a ‘client,’ she quickly reveals to the husband of the house that she is a threat of unbridled strength and thirst for vengeance. It’s mostly off screen, but the results are not and we recognize that Sadie is powered by a dark force, kindled from something deep inside her core.

From there, the movie jumps from place to place, time to time, where Sadie is seen in session, sunken and pale, listening to the harrowing stories of women trapped in savagery. It then cuts to moments of severe anguish as Sasie writhes in various hotel rooms, weighted by the tragedy of her past. This is of course a dark odyssey where Sadie ventures about answering pleas on her messaging service, though there are others encounters, such as a little boy and his cruel mother.

Either way, this is Wilde’s movie, dressed in all kinds of exaggerated wigs and cosmetics in giving her anonymity as she unleashes a torrent of freedom for those who can’t do it on their own. We most often only see men in positions of submission, bound and bloodied, learning the hard way that there are consequences for what they’ve done. Nickson isn’t exploiting or even celebrating these moments, merely doling them out in quiet retrospect while paired with images of a chaotic Sadie whirling about her dirty hotel rooms in thrashes of cathartic madness, howling at herself in the mirror.

There’s a knee-jerk reaction to think this as some sort of alternative superhero story, but that would be misleading and probably not fair. The film doesn’t position Sadie as such, even as it fits the conventions, this more a morality tale with a vicious bite. It doesn’t hate men but also doesn’t shirk from the fact that some are very bad people. We’re meant to ponder what’s right or wrong, much like Michael Winner ‘s controversial 1974 film Death Wish and finding the right answer isn’t easy. That said, there isn’t a larger message beyond eye for an eye, the film rutted a bit as it moves forward on the theme, once we understand Sadie’s motivations, things sort of obvious. Still, this is one heckuva performance from Wilde who sheds much of one’s expectations for a twisted, commanding turn that deserves closer attention.

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A VIGILANTE: Women Flip The Script

Moving: divorce separation blues, the conversation: coppola’s eavesdropping thriller still full of bravura at 50, young woman and the sea: expert swimmer in shallow-end biopic, the penguin trailer 1, one for the road: a bite-sized horror, 30 for 30: american son: celebrating the rise of tennis star michael chang, creature commandos trailer 1, she came back: a haunting fusion of drama and suspense, trap: a concert you’ll want to bail, the story of g.i. joe: the stunning new restoration celebrates the work of war correspondent ernie pyle, the instigators: requiem for the boston movie, joker folie a deux trailer 1.

There’s hardly a dearth of vigilante movies on the market, but finding one where a woman takes on injustice still requires a bit of digging. For every The Brave One and Coffy, there are ten films about men breaking the law for the right reasons, and when we do get a female-fronted one, it’s often filtered through a male perspective. Are women just not as into vigilantism? Do we go about it in ways that aren’t as cinematic as punching someone in the face? Or is it just one of those things women are blocked from due to stereotypical ideas of femininity in film?

A Vigilante does this by framing the story around a woman breaking others free from domestic abuse, a crime that is predominately perpetrated by men. Having Olivia Wilde show up to right these wrongs is a layered statement in and of itself, one that the film thrives on and at the same time doesn’t take full advantage of.

Navigating The Genre

There’s something I should be up front about: I’m a hard sell on these types of movies. Revenge films draw more of my ire, but vigilantism isn’t far off the tunnel vision pain and unfettered brutality that often thoughtlessly drive these genre pieces. Our seemingly endless appetite for films about lashing out always strikes me as a reflection of culturally accepted self-obsession, which excuses putting your needs and your pain before the larger good in all sorts of destructive ways. Feeding these instincts through film feels detrimental to me, so these movies have to present a damn good reason for their character’s behavior before I can get on board.

The psychological and financial traps of domestic abuse will be apparent to the educated viewer, as will the lack of safety nets that make a vigilante almost necessary to correct these situations, but the film doesn’t really dig into these particulars with great depth. It’s a hard balance to find, hinting at such a multifaceted issue without getting too caught up in explaining the ins and outs, but a bit more is needed to really clarify why Sadie needs to take such actions. This mishandled balancing act is the biggest giveaway that Daggar-Nickson is rather new to filmmaking (this is her first feature), but the downfall is mostly covered by an all-in lead performance.

Olivia Wilde Brings The Heat

As the methodically dangerous Sadie, Wilde is asked to embody the simmering tension of the film, appearing in nearly every frame and burdened with conveying this standoffish but complex character to the audience. Maybe all that pressure was a good thing, though, because this character isn’t really supposed to feel comfortable in her skin.

Wilde’s resume hinted that she could handle the mentality of this character, what with her long run as the secretive Thirteen on House and intense movies roles like the grief-stricken mother in Meadowland . For anyone familiar with her work, it’s probably unsurprising that her eyes capture one’s attention, flickering and flaring as private thoughts pass unspoken. Daggar-Nickson must have picked up on this, too, as she leans on steady looks of Wilde’s face during key emotional moments.

What’s more surprising is her physicality, with Sadie spending much of the first half of the film moving from call to call and going against several men twice her size. The krav maga training Wilde did as prep shows, and these scenes play out without feeling staged.

It’s a remarkably rounded performance from Wilde , the best I’ve seen of her career, and it leaves me wanting to see her used more in unexpected roles like this.

A New, Exciting Eye

Outside of her good instincts with Wilde , the best thing Daggar-Nickson brings to A Vigilante is the good sense of what to show and not show, including some excellent framing, cutting, and yes, even some sly humor.

The opening of the film makes this apparent, as establishing shots and a cryptic voicemail gives way to Sadie putting in some time with a punching bag. It’s an odd contrast between several quick shots and a long, patient one, and it allows the audience’s instant confusion to amp up into the film’s baseline tension through Sadie’s increasingly furious punching.

Still, these break ground in ideas instead of excitement, making it clear that this is no empty genre exercise. It comes off as tough but not overwhelming, violent but not punishing. That’s thanks to Daggar-Nickson’s intelligent handling of the material, which makes me excited to see how her career develops.

Conclusion: A Vigilante

Even as it skims a bit too lightly over its complex themes, A Vigilante manages to capture a resilience and toughness that often goes unhailed on film. Those expecting an action-packed genre film may be disappointed, but those who crave a bit more meat on these stories will walk away with something to chew on.

What are your thoughts on A Vigilante ? Do you typically like vigilante movies? Tell us your thoughts in the comments below!

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Home » A Vigilante Movie Review: When vengeance has substance

A Vigilante Movie Review: When vengeance has substance

Finding strength in subtlety, Sarah Daggar-Nickson’s A Vigilante begins with a single tearful voicemail. “I have two children who come home at 4:00, and I don’t want them to get hurt,” an unnamed woman barely brings herself to mutter into the receiver, “He’ll hurt them if I leave.” Daggar-Nickson then devotes her feature directorial debut to standing up for this woman and many victims like her, not by offering a simplistic eye-for-an-eye shot at revenge, but by setting them on the prolonged and tedious path toward healing.

Sadie (Olivia Wilde) has been put through the ringer. Once the sufferer of domestic assault, she has decided to mold her trauma into justice for other abused women, ridding the victims’ violent spouses while working her way toward doing the same for her own (Morgan Spector). In one crippling blow, Sadie aims to exact upon these men in a single afternoon the unrelenting pain they’ve caused countless women over a lifetime.

Wilde is nothing short of a powerhouse in A Vigilante . Through Sadie, we see the monumental toll this life of standing up for the powerless continues to take on her. There’s the physical anguish of combat training and the moral weight of inflicting brutality on others, sure, but the true cost resides in the emotional labor of stepping into the abused’s shoes. In a flash of poignant ingenuity, director Daggar-Nickson intersperses lengthy stories from victims of domestic violence in support group within the revenge sequences, preventing the retributions to become exploitative. They are firmly grounded in the harsh reality of the situation rather than playing up the bloodshed. We needn’t witness the atrocities that these women have been subjected to for them to be validated; Daggar-Nickson demands that we take them at their word.

Revenge fantasies — even those with seemingly the purest of intentions — often fall flat because they lean so far into overt escapism they ignore their story’s inherent human component. A Vigilante appears to be taking it upon itself to single-handedly right this wrong. There are moments of grim savagery, but they aren’t delivered in a way that entertains. This isn’t Death Wish . Rather than simply romanticizing the gruesome vengeance unfolding in the background, Daggar-Nickson focuses on the complex emotional cocktail the avenged victims — as well as Sadie herself — are forced to swallow when they watch their abusive husbands get their comeuppance. It’s at that point they begin to unpack their trauma, finding therapy in destruction, in verbalizing their pain, or merely by taking a moment to recalibrate their trajectory moving forward.

A Vigilante could have easily played out like an arthouse Girl with the Dragon Tattoo knockoff, or a sloppy revenge thriller that disguises toxic masculinity in the package of a female protagonist (looking at you, Peppermint ). Instead, it is a delicate and clever study of lasting scars both inside and out. Skillfully straddling the line between mourning and hope, A Vigilante delivers a precious commodity we too rarely see at the movies: sincerity. This is the kind of sleek, devastating character piece that indie directors build entire careers upon.

We haven’t seen the last of Sarah Daggar-Nickson. Not by a long shot.

Brian Thompson

Brian Thompson‘s adoration (and borderline obsession) for all things pop culture has culminated in his movie reviews blog, southernfilmcritic.wordpress.com. His written ramblings on the world of entertainment have been featured around the web, on such sites as Chicago Scene and Taste of Cinema. Brian is also the founder and cohost of the Drinking at the Movies podcast on the Now Playing Network.

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Review: A Vigilante (2019)

A vigilante (2019).

Directed by: Sarah Daggar-Nickson

Premise: A woman (Olivia Wilde) who has escaped an abusive marriage lives off the grid and assists other women in similar situations.

What Works: There is a well-established genre of vigilante movies that includes titles such as The Crow and Death Wish and The Equalizer . These films are stories of trauma and catharsis in which people who have been viciously wronged try to even the score through violence. The morality of these films is often debated and many of them do endorse violence as a solution to society’s problems. Better films of this type, such as Taxi Driver and Ms. 45 , question the efficacy of violence and have an earnest regard for the trauma endured by survivors. 2019’s A Vigilante is interesting in this regard. It’s a well-made film and the moviemakers offer exactly what fans of this genre look for in movies like this. But A Vigilante goes a bit deeper than the average revenge thriller and much of that is due to Olivia Wilde’s fierce performance. Wilde plays Sadie, a woman who has escaped from her abusive husband but at a terrible cost. She has found purpose in her life by working as hired muscle, beating and intimidating abusive men into letting go of their wives and girlfriends. Sadie’s trauma is evident throughout Olivia Wilde’s performance. She is tough but Sadie is not Charles Bronson’s self-assured psychopath of Death Wish . Instead, Sadie is haunted by what she’s been through and her violence is a way of making sense out of her pain. But the catharsis is fleeing and the supply of women in need of help seems endless. The filmmakers take the subject of domestic abuse seriously; in some of these movies the trauma is just a flimsy excuse to get to the prurient violence but A Vigilante puts a lot of emphasis on the experiences of domestic abuse survivors. The film’s nuanced understanding of violence and its lasting impact distinguishes this film from a lot of similar titles.

What Doesn’t: The first half of A Vigilante is told out of sequence. Sadie’s time at a women’s shelter is intercut with her adventures helping women out of abusive situations and otherwise beating up misogynists. That these scenes are not in chronological order is not readily apparent at first and the opening half of A Vigilante is a bit confusing because there are no obvious cues as to where these scenes belong in the timeline. This generally improves as the story moves along and the last third of the picture is entirely linear. The film’s transition to its climax rests on a significant coincidence. The final struggle is the logical climax for this story and its protagonist but there’s no preparing the audience for the big twist and so it feels as though it comes out of nowhere.

DVD extras: Featurette.

Bottom Line: A Vigilante is a well-made thriller with an excellent lead performance by Oliva Wilde. The movie offers a bit more than the average revenge picture and it presents difficult subject matter in a way that is thoughtful and even provocative.

Episode: #755 (June 30, 2019)

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A vigilante (2019).

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Give her a call, and she'll give you justice.

A once-abused woman devotes herself to ridding victims of their domestic abusers while hunting down the one she must kill to be truly free.

Sarah Daggar-Nickson

Director, Screenplay

Top Billed Cast

Olivia Wilde

Morgan Spector

Sadie's Husband

Tonye Patano

Counselor Beverly

Straight Up Shelter Woman

Betsy Aidem

Andrea Shaund

C.J. Wilson

Michael Shaund

Chuck Cooper

Kyle Catlett

Estefania Tejeda

Counseling Group Woman #1

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A review by JPV852

Written by jpv852 on august 28, 2019.

Olivia Wilde is great, the rest of the movie was needlessly slow adding no suspense or emotion. Without lingering shots, this would've easily been under 80-minutes. Shame that a great performance was wasted.

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Original Language English

Revenue $83,012.00

domestic abuse
domestic violence
woman director
survivalism
traumatized woman
abuse counselling

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A Vigilante Movie

Who's Involved:

Olivia Wilde, Randall Emmett, George Furla, Lars Knudsen, Kyle Catlett, Morgan Spector, Andrew D. Corkin, Judy Marte, Sarah Daggar Nickson, CJ Wilson, Chuck Cooper, Tonye Patano, Betsey Adam

Release Date:

Friday, March 29, 2019 Limited

Plot: What's the story about?

A once abused woman, Sadie (Olivia Wilde), devotes herself to ridding victims of their domestic abusers while hunting down the husband she must kill to truly be free.

4.13 / 5 stars ( 8 users)

Poll: Will you see A Vigilante?

Who stars in A Vigilante: Cast List

Olivia Wilde

Perfect, The Next Three Days

Morgan Spector

Nanny, Permission

Kyle Catlett

Poltergeist

Tonye Patano

Chuck Cooper

Betsey Adam

Raising Victor Vargas

Who's making A Vigilante: Crew List

A look at the A Vigilante behind-the-scenes crew and production team.

Sarah Daggar Nickson

Screenwriter

Parts and Labor

Production Company

Emmett/Furla/Oasis Films

Watch A Vigilante Trailers & Videos

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Production: What we know about A Vigilante?

Filming timeline.

2019 - February : The film was set to Completed status.
2016 - November : The film was set to Development status.

A Vigilante Release Date: When was the film released?

A Vigilante was a Limited release in 2019 on Friday, March 29, 2019 . There were 11 other movies released on the same date, including Dumbo , Hotel Mumbai and Lost & Found . As a Limited release, A Vigilante will only be shown in select movie theaters across major markets. Please check Fandango and Atom Tickets to see if the film is playing in your area.

A Vigilante DVD & Blu-ray Release Date: When was the film released?

A Vigilante was released on DVD & Blu-ray on Tuesday, May 28 , 2019 .

A Vigilante VOD & Digital: When was the film released digitally?

A Vigilante was released across all major streaming and cable platforms on Thursday, March 28 , 2019 . Digital rental or purchase allows you to instantly stream and download to watch anywhere and anytime on your favorite devices. Available from various digital retailers including Amazon Video, iTunes, Google Play, Apple, Vudu and others.

Q&A Asked about A Vigilante

Was the film shot in saugerties, ny.

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Follow the Updates

Sun., May. 5, 2019
added the US Blu-ray release date of May 28, 2019
added the US DVD release date of May 28, 2019
added the US VOD release date of March 28, 2019
added thriller as genre
added a synopsis
set the MPAA rating to R
added a running time of 91 minutes
added Judy Marte as actor to credits
added Betsey Adam as actor to credits
added Chuck Cooper as actor to credits

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Movie Review: A Vigilante

I am looking out the window and the trucks won’t stop coming.

This is the first sentence battered women use to identify the purpose of the call when they call Sadie for help.

Sadie (Olivia Wilde) was abused by her husband (Morgan Spector). He was a loner who took his wife and young son into the wilderness in the Adirondacks to practice living off the grid. They would park the car, cover it with a tarp and camouflage it with branches and leaves. They would hike into the mountains and live off the land. To prove toughness, he would break her arm and then reset it himself.

One day she has enough and musters the courage to leave him. When Sadie breaks away, their son gets killed.

On her own, she teaches herself martial arts, fighting and self-defense and makes it her life’s mission to help other women leave their abusive men by coming after the men with the same brutal aggression they have been using on their women. It is not an easy life. Eventually there is the final face off between herself and her former husband.

A Vigilante is full of graphic scenes of despair, terror and anguish. We see women in a shelter telling their stories to each other to try to get closure. We see how Sadie slowly transforms herself from battered wife to ruthless fighter for justice by her own terms. But none of it is credible and works.

The movie is disjointed and choppy. I found it difficult to make out where in the story I was at times, whether she was on a mission to free somebody, or on her own obsessive quest to come after her husband.

Light spoiler ahead:

In the final showdown, she finds her husband, and true to his self, he ties her up and breaks her arm just for good measure. She eventually gets away, and when he finds her, somehow, she kills him. The movie does not show how this goes down. This small woman, albeit trained as a fighter, with one arm broken and temporarily mended by herself with electrical tape, stands in front of the man, tells him she is going to kill him. In the next scene we see her choking him with her one working hand, he is on the ground, rolling his bulging eyes as he dies.

Then she dumps his naked body in the woods and moves on to save another woman.

The critics love this movie, which boasts 91 on Rotten Tomatoes. I differ greatly.

A Vigilante is not credible from the very beginning. It is trying to show the hurt and anguish of battered women, and it does so graphically. Otherwise it’s an unconvincing movie, depressing to watch, with huge plot holes.

Unsatisfying all around.

5 thoughts on “ Movie Review: A Vigilante ”

I thought Olivia Wilde acted believable in her role. I thought it was well done. Not bloody gory as some can be, but it tell the story.

Have you personally every experienced domestic violence? If you had you would understand the choppiness, the feelings of perpetual disjointedness. Just call yourself lucky. And maybe write some reviews abandoning your own self bias? Might help a little.

Thanks for your comment. No, I have not experienced domestic violence, and I do consider myself fortunate for that. My comments on this movie are about the movie, not about the subject of the movie – even though that is sometimes hard to separate. This is a subjective movie review. I would obviously not recommend the movie to those who come here and read my reviews. My comments have nothing to do with my opinions on domestic violence and what it does to people.

Go watch the Expendables

I did in 2010: https://norberthaupt.com/2010/12/02/movie-review-the-expendables/

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‘a vigilante’: film review | sxsw 2018.

Olivia Wilde plays a domestic-abuse survivor who helps others escape their own tormenters in Sarah Daggar-Nickson's feature debut, 'A Vigilante.'

By THR Staff

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A taut revenge fantasy that takes the traumatic roots of its crime-fighting spree very seriously, Sarah Daggar-Nickson’s A Vigilante casts Olivia Wilde as a woman who narrowly escapes an abusive household, then turns herself into a mysterious champion for others. Putting a deliberately unromantic spin on its wish-fulfillment scenario, the film scratches a genre itch without using it as an excuse, a la Eli Roth’s morally bankrupt Death Wish remake, for vicarious sadism. Though its austerity limits commercial appeal, the timely pic will earn support on the fest circuit and would likely fare well in art houses.

For a good stretch of the picture, we know nothing about Wilde’s Sadie. She lives in a string of seedy motels, where Spartan physical-training rituals alternate with intense outbursts of PTSD grief. Her phone number is being passed around quietly in domestic-abuse support groups, and callers who use her odd passphrase — “the trucks won’t stop coming” — can arrange for her service: When she knows your abuser is home, Sadie will come in wearing a disguise, subdue him with some Krav Maga , and coolly tell him how things are going to be. In one early example, she stands over a bloodied husband as he signs over the house and moves three-quarters of his assets to his wife’s new bank account, phones HR to quit his job and says goodbye to his home. At the door, she warns him, “if you bother them I will kill you,” stepping in to whisper, “I want to kill you.”

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The Cinema Critic

A Vigilante (2019) Review

A vigilante (Olivia Wilde) helps victims of domestic violence by acting with merciless severity against the perpetrators. The battle-hardened woman never loses sight of her own mission.

Time: 91 Minutes Cast: Olivia Wilde as Sadie Morgan Spector as Sadie’s Husband Tonye Patano as Beverly Judy Marte as Straight Up Shelter Woman Betsy Aidem as Andrea Shaund C.J. Wilson as Michael Shaund Chuck Cooper as Lawyer Kyle Catlett as Zach Director: Sarah Dagger-Nickson

I can’t remember how I first heard of A Vigilante, but I remember mainly hearing about how great Olivia Wilde was, and that the movie was pretty good. Outside of that, I really didn’t know anything about the movie going in. Outside of a lacking third act and some roughness, A Vigilante pretty good, well directed and greatly acted by Wilde.

Plenty of people have compared this movie to Lynne Ramsay’s You Were Never Really Here, both follow vigilantes for hire, who experienced some form of trauma in their past, and the movies are low paced character studies of said vigilantes. There are further similarities between the two, but for A Vigilante’s sake, I’ll talk about it as how it works by itself. On paper this could’ve easily been just another revenge fantasy, however it’s very grounded and gritty. It doesn’t really have much of a structure, it just follows Olivia Wilde’s lead character of Sadie throughout. There’s also the treatment of abuse, which this movie could’ve easily failed at, and if it did it would’ve sunk it hugely. However I thought it was done as respectful as possible, making sure to focus on the victims and never turning the attention to the abuse itself. With all that the good that it’s in the first two acts, it’s just unfortunate that the third act isn’t great. I would’ve been fine with the climax still just following Sadie on her encounters, but I could potentially still be on board with the direction they went with for the story. However in this section, it becomes the revenge thriller movie that for the past hour it was trying not to be. I guess it isn’t bad, but it’s a little disappointing and underwhelming, and not like it was intended to.

The movie is worth watching for Olivia Wilde alone, this is a career best performance from her. I’ve seen her in plenty of movies, some of them major movies, but she hadn’t been given a ton of things to work with on her end. A Vigilante is really her movie however, she’s in almost every scene and it’s following her for the entirety of the plot. This relied so much on her bringing something incredible to it, and she absolutely does. The rest of the cast are fine enough but don’t come even close to Wilde’s level, on top of the fact that with every other character you don’t see them in more than a couple scenes. The ‘antagonists’ in the movie are very one note, for much of the movie that’s fine, they’re more often than not abusers that Sadie is hired to deal with. We don’t get to know much about them and we didn’t need to. However there is a singular antagonist in the last act, and either he’s given too much screentime and things to say, or not given enough personality or depth for us to care much about this character in the context of the story. He was more of an annoyance than anything else.

This is writer and director Sarah Daggar-Nickson’s debut film, and she definitely showed her talents well with this movie. The film can feel pretty cold throughout, however it felt appropriate given the character and the tone of the story. As mentioned earlier, A Vigilante is trying to be as realistic as possible. There aren’t any overly stylistic scenes or montages, and although there are portions of composed music played at some points, much of the movie is set to silence. While the violence can be brutal, it’s restrained and yet at the right enough to make you uncomfortable without being exploitive. Even the violence that Wilde delivers onto abusers aren’t shown, so there is no glorification about any of it. As for the thriller aspects in the third act, I guess it was fine but felt somewhat underwhelming, and I can’t tell whether it was purposeful or not.

A Vigilante is not an easy watch, and it has its fair share of issues, most of them to do with the final act. However it mostly handles the subject matter with care, and it’s directed very well. With all that being said, it may very well be worth watching even just for Olivia Wilde’s performance.

Movie Review: A Vigilante

Olivia Wilde is dynamic as Sadie the vigilante. A Vigilante isn’t just some pumped-up mystery thriller, it’s a portrait of what’s wrong with the world we live in. Sadie is a woman that’s suffered the horrors of domestic abuse and loss.

The film depicts Sadie in a series of events chasing down domestic abusers and punishing them for their heinous acts. She serves as the judge, jury and even the executioner, to some extent. While the system fails these victims, Sadie doesn’t.

HOW WAS THE ACTING:

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The most powerful moments come when she’s releasing her pain and suffering in the form of primal vocal outbursts. It’s the mental and emotional anguish that Wild is able to display, while being the symbol of hope for the voiceless that makes her performance so unique. Wilde doesn’t do much talking, she lets her actions and emotions speak louder than words.

A Vigilante is not the first female driven vigilante film we’ve seen. Recently Jennifer Garner played a grief stricken mother in Peppermint , so movies and characters like this do exist, just the subject matter is different and the depiction of it.

WAS IT ENTERTAINING:

The film deals with a dark and sensitive subject matter, but it doesn’t shy away from presenting it. Its mission isn’t to necessarily “entertain”. Instead, it showcases the cruel side of society. Credit to writer-director Sarah Daggar-Nickson who undoubtedly makes a powerful statement.

As far as the entertainment factor is concerned, it’s still there, to an extent. Hard not to root for Sadie when she’s standing tall for victims and going against the vile abusers.

It is a slower paced story, so those expecting a high-octane thrill ride won’t be getting it, even though the fight choreography Wilde exhibits is well orchestrated. The sobering theme isn’t pleasing when it comes to entertainment factors, but that’s not the objective of this film. Some of the scenes are emotionally draining and painful to watch, so it’s not pleasing in that aspect.

WHY SHOULD YOU SEE IT:

This is a movie that’s important to see. The subject matters is relevant to society and opening-up our eyes to the crimes that happen all too often to our family members, friends, co-workers and strangers we come across on a daily basis.

A Vigilante isn’t an easy to digest movie. It’s emotionally heavy. A statement movie. Brilliant performance from Wilde. Written with a lot of love for the victims. Directed with a lot of emotion. Wilde and Daggar-Nickson bring passion to their work, all with the hopes of changing someones life for the better. If this movie can impact at least one person in need to seek help and save themselves from abuse, then it already achieved more significance than any critical praise or box office could ever provide. A Vigilante is a rare movie of its kind that should be a lot more common.

If you or anyone you know might be suffering domestic abuse and in need of help, please contact the National Domestic Violence Hotline at 1800-799-7233 and visit The Hotline

GENRE: Crime, Drama, Mystery, Thriller

RUNTIME: 1 hr 31 min

RELEASE DATE: March 29, 2019

‘A VIGILANTE’ Score: 87%

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Jim alexander, share this:, related posts.

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About Jim Alexander

Jim Alexander hails from Chicago where he started his journalism career as a film critic and founder of the Chicago Independent Film Critics Circle (CIFCC). He's a Rotten Tomatoes approved critic. Jim founded Reel Talker as a platform to share his love of movies and entertainment. Jim's favorite part of being a journalist is getting to meet and interview actors, filmmakers and entertainers. Jim is a host and on-camera personality for AfterBuzz TV. Aside from his work with Reel Talker, he's the site owner of the Bachelor Universe website, where he recaps and talks about all this ABC's 'The Bachelor'. He also runs the Reel Talker Podcast that can be found on iTunes. In his free time he enjoys attending sports events and playing in recreational leagues.

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‘a vigilante’ review: olivia wilde’s abuse thriller doesn’t play it safe.

Olivia Wilde is a domestic abuse survivor who devises an off-the-grid method of helping other women escape their tormentors in the taut indie “A Vigilante.”

First-time feature director Sarah Daggar-Nickson blends all-too-believable survivor stories with a somewhat standard thriller plot, while Wilde gives an all-out performance as Sadie, who alternates between cool-headed vengeance and shaking, sobbing bouts of PTSD-induced panic attacks.

The difference between this and, say, the 2002 J.Lo abused-wife drama “Enough” is that Daggar-Nickson refuses to indulge the viewer’s expectation of drawn-out bouts of violence. They’re here, but rare, and her camera is more interested in the moments in between — deep breathing, wound dressing — and the devastating aftermath, including women trying to figure out where to go and what to do after breaking off a bad live-in relationship.

Stressful but more predictable is the moment Sadie’s husband (Morgan Spector, whose character isn’t even granted a name in the credits) appears for an inevitable showdown.

“Graveyards are full of people who didn’t make it out,” says one member of Sadie’s group. “It’s a massacre.”

By titling her film “A Vigilante” rather than the more traditional “The,” Daggar-Nickson seems to imply Sadie’s a cinema-heightened version of a woman struggling to fight back against domestic abuse, but she’s far from the only one.

The film manages to be both hopeful and devastating — and recommended viewing for anyone who subscribes to the facile notion that abused women should “just leave.”

Movieman's Guide to the Movies

A vigilante blu-ray review.

A Vigilante (2019)

Genre(s): Drama, Suspense Lionsgate | R – 91 min. – $21.99 | May 28, 2019

Date Published: 06/13/2019 | Author: The Movieman

Sarah Daggar-Nickson
Sarah Daggar-Nickson (written by)
Olivia Wilde, Morgan Spector

Featurette
Yes
Yes
Blu-ray, DVD
2

English (DTS-HD MA 5.1)
1080p/Widescreen 1.85
English SDH, Spanish
24.17 GB
29.21 Mbps
MPEG-4 AVC
A

Lionsgate provided me with a free copy of the Blu-ray I reviewed in this Blog Post. The opinions I share are my own.

Give her a call, and she’ll give you justice. After escaping her violent husband, Sadie (OLIVIA WILDE) makes it her life’s mission to help free others in danger. Now, after months of rigorous training in survival skills, boxing, and lethal martial arts, Sadie is back with a vengeance.

Generally I enjoy a good revenge film and seemed to fit the bill. On the surface it sounded something like or even , which wasn’t all that great. Let’s just say I only wish this film was even close to the Jennifer Garner-led action-thriller. is a very very slow burn suspense-drama that takes more time lingering on shots or staying with a scene too long with no payoff either with the plot or character development.

The film was written and directed by Sarah Daggar-Nickson makes her directorial debut and I’m pretty sure I know what she was going for, a more down-to-earth exploration of the broken psyche of an abused woman who gathers the courage and strength to take back her life following an unspeakable event. However, even such a sorrowful incident, told brilliantly by Olivia Wilde’s Sadie character, still lacked some sort of a gut punch of emotion. As it was written, I’m not sure if this could’ve been better, problem is, Daggar-Nickson also has sole credit on the script.

Really, the sole reason I even gave a 2 out of 5 was because of Olivia Wilde’s tremendous performance, one that probably was emotionally draining. It’s unfortunate that did not translate to the screen thanks to some perplexing editing and, as mentioned before, long drawn out shots that served little purpose other than to test the viewer’s patience.

This release comes with a matted and inside is a redemption code for the copy. The only item included is (17:43) making-of and behind-the-scenes featurette.

takes on the Blu-ray where it’s presented with a 1.85 widescreen aspect ratio and a 1080p high-definition transfer. For the most part, the picture looks pretty good, detail is sharp throughout while colors are toned down in keeping with the more serious nature of the plot and the circumstances the main character is going through. There were no signs of artifacting, aliasing or other flaws and the natural noise was noticeable giving it a more authentic theatrical viewing experience.

The disc includes a DTS-HD Master Audio 5.1 track but the movie is pretty quiet and outside of some screams, is fairly low key. Dialogue does come out with fine clarity via the center speaker and some minimum of ambient noises, as well as the score, through the front and rear channels.

had good intentions but thanks to the slow and awkward delivery of a familiar story, that it was tough to sit through but for the wrong reasons. The only redeeming value I could find was Olivia Wilde’s emotional performance but it’s not nearly enough to give the movie any sort of recommendation. Truly disappointed.

Check out some more 1080p screen caps by going to page 2. Please note, these do contain spoilers .

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The 10 Best Movies About Vigilantes, Ranked

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Long before superhero cinema became the crux of what the entertainment industry was based on, Hollywood made many films about vigilantes that didn’t necessarily conform to traditional notions of heroism. While there have been many classics that have lionized law enforcement officers and fantastical characters, it's interesting to see films that examine anti-heroes who fight against the law. The anti-authoritarian themes of these classic vigilante films are relevant whenever there are serious political and social divisions in society.

Some of the greatest action and suspense films ever made, from Taxi Driver to Promising Young Woman , revolve around vigilantes who are faced with seemingly insurmountable odds, offering their audiences a much more complex series of ethical questions to deal with. Refreshingly, many of these modern vigilante films have branched out to include people of color, women, and the LGBTQ community. These are the best movies about vigilantes who serve righteous and bloody justice in unique and often cathartic ways.

10 ‘Promising Young Woman’ (2020)

Directed by emerald fennell.

Cassie in Promising Young Woman holding a needly and wearing a nurse's uniform

Promising Young Woman was a radical directorial debut from Emerald Fennell that challenged the stereotypes of the vigilante genre by focusing on a female protagonist. Carey Mulligan delivers one of the best performances of her career as Cassie, an embittered college dropout who decides to find the men responsible for sexually assaulting her best friend. Promising Young Women asks difficult questions about the culture behind sexual assault and is designed to make viewers squirm in their seats.

Although the ending remains divisive, Promising Young Woman was one of the most acclaimed films of 2020, scoring Fennell an Academy Award for Best Original Screenplay, alongside nominations for Best Picture, Best Director, and Best Actress. The ironic use of pop songs, most notably Britney Spears ’ “Toxic” as an orchestral version, made the film’s sinister examination of violence against women even more upsetting to watch.

Promising Young Woman

Not available

9 ‘V For Vendetta’ (2006)

Directed by james mcteigue.

A masked vigilante known as V introduces himself in a seedy alleyway which sports a propaganda poster on the wall.

V for Vendetta is the rare superhero film that also qualifies as a vigilante story , as it centers on the mysterious masked crusader V ( Hugo Weaving ), who models himself after the classic revolutionary Guy Fawkes . V for Vendetta is set in a dark future where the totalitarian government regime has complete control over the economy and media. It takes V and his protege Eve ( Natalie Portman ) to lead a revolution that exposes the lies to prop up this evil power.

The film has many striking visuals, including the iconic Fawkes mask and the use of dominos to show the shifting of the power dynamics. The film is deeply indebted to the “bullet time” visual effects sequence in The Matrix that was created by Lily and Lana Wachowski , who served as producers on this film. Thrilling and visually dynamic yet narratively satisfying, V for Vendetta is a vigilante movie that is as stylish as it's powerful.

V For Vendetta

8 ‘man on fire’ (2004), directed by tony scott.

John Creasy walking away from a fiery background in Man on Fire

Man on Fire is proof that Denzel Washington is one of the greatest action stars ever. While he had already won two Academy Awards for Glory and Training Day , Washington was perfect as a former special operations agent on a dangerous mission in Tony Scott ’s bloody action classic. Scott had previously experimented in the vigilante genre with the 1990 neo-Western thriller Revenge with Kevin Costner , but Man on Fire represented a significant step forward in terms of action spectacle .

Although the film is long, there’s not a single moment in which Washington’s performance is not completely captivating and riveting. It’s hard to imagine that Washington would have been as successful at turning The Equalizer into a proper trilogy of vigilante thrillers if he hadn’t already set a precedent for himself with Man on Fire.

Man on Fire

Rent on Amazon

7 ‘Prisoners’ (2013)

Directed by denis villeneuve.

Keller holding Alex by the neck in Prisoners

Prisoners is a masterpiece in suspense and tension that proves once again that Denis Villeneuve is one of the greatest living filmmakers. Prisoners succeeds as a vigilante thriller because it presents a protagonist that the audience can relate to. Hugh Jackman delivers one of the best performances of his career as a genuinely caring father who goes to extreme lengths in order to ensure that his children are safe.

The film benefits from its gradual pacing that escalates the tension, with a significant amount of visual beauty yielded from the incredible Academy Award-nominated cinematography from the great Roger Deakins . Prisoners is the type of film that questions what good people are capable of and ends with a very disturbing series of traumatic plot twists that are bound to keep the audience talking long after the credits have finished up rolling.

6 ‘Kill Bill Vol. 1’ (2003)

Directed by quentin tarantino.

The Bride holding her katana defensively across her face

Kill Bill Vol. 1 was an extended tribute by Quentin Tarantino to the classic yakuza and samurai films from Japan that featured some of the most incredible sword fights ever committed to the silver screen. Tarantino is known for pushing the boundaries when it comes to disturbing content, but the haphazard duels in Kill Bill Vol. 1 are fairly violent, even by his standards.

Uma Thurman ’s incredible performance as “The Bride” helped usher in a new era of female-led revenge movies . Although the sequel helped bring this intense story of vengeance and redemption to an action-packed conclusion, Kill Bill Vol. 1 is only slightly superior to its successor because of The Bride's incredible and cathartic final battle with Lucy Liu 's O'Ren Ishii. Thurman's character might be one of the most distinctive vigilantes out there, owning up to her actions and even directly challenging those who might eventually want to seek payback for her crimes against them.

Kill Bill Vol. 1

5 ‘drive’ (2011), directed by nicolas winding refn.

Ryan Gosling as Driver in his car at night while being a getaway driver in 'Drive'

Drive is a great modernization of the neo-noir genre that has many callbacks to the Western genre . Indeed, there is a strong connection between the “Driver” character, played by Ryan Gosling , and Clint Eastwood ’s “Man With No Name” from The Good, The Bad, and the Ugly . Gosling’s character is a getaway driver for the mob who desperately tries to take down a gangster ( Albert Brooks ) after falling in love with his new neighbor (Carey Mulligan).

Doing a great job at capturing the Los Angeles nightlife, Drive features incredible car chase sequences that put The Fast and the Furious franchise to shame. Although there are some truly disturbing moments that may cause even the most seasoned crime movie buffs to look away, Drive has some surprisingly earnest romantic and family-oriented elements that make the entire experience more heartfelt as a human drama .

4 ‘Rolling Thunder’ (1977)

Directed by john flynn.

Charles Rane standing by a river holding a rifle in 'Rolling Thunder'

Rolling Thunder is one of the early masterworks of the “New Hollywood” era that told a quintessential story of revenge that resonated with Vietnam War veterans who felt neglected by the country that they had once served. William Devane gives a captivating performance as a veteran who strikes out on a mission of revenge after his entire family is brutalized by a gang of thugs. The great Tommy Lee Jones also has a standout performance as another veteran who joins in this justice mission.

Rolling Thunder is absolutely remorseless in its characterization of violence , but the excellent screenplay from Paul Schrader ensures that the human drama is never lost. While it was widely controversial at the time of its release, Rolling Thunder is remembered as an exploitation classic that certainly inspired many vigilante films moving forward in the next few decades.

Rolling Thunder (1977)

Watch on Amazon

3 ‘You Were Never Really Here’ (2018)

Directed by lynne ramsay.

Joe with blood splattered on his face and his hands up in surrender in 'You Were Never Really Here.'

You Were Never Really Here is a heartbreaking neo-noir thriller about loss, remorse, and trauma that straddles the line between being an arthouse drama and a brutal action film. Joaquin Phoenix gives one of the darkest performances of his career as Joe, a veteran who helps rescue kidnapped children from sexual trafficking rings. Joe is drawn into a conspiracy when he realizes that one of his new targets has been kidnapped by a corrupt political campaign.

You Were Never Really Here explores how vigilantes may be impacted by post-traumatic stress disorder and peers into the psychology of a very complex character. While the violence involving hammers and other weapons is about as brutal as action films can get, You Were Never Really Here also includes beautiful moments of underwater dreams that are simply gorgeous to watch.

You Were Never Really Here

2 ‘john wick’ (2014), directed by chad stahelski.

John Wick carrying his puppy in the film John Wick

John Wick was instantly hailed as one of the greatest action films of all time. It merged East Asian martial arts, neo-noir crime intrigue, and the plethora of gun battles from 1980s action films into a completely original package that offered Keanu Reeves the comeback that he really needed. John Wick succeeds in entrapping audiences because it has one of the most compelling motivations for any anti-hero ever ; who is not going to sympathize with a lonely widower trying to track down the criminals who killed his dog?

Director Chad Stahelski uses his experience as a stuntman to make the action in John Wick feel even more brutal , particularly in a nightclub scene that is simply mind-blowing. John Wick inspired three great sequels and a television prequel series, but the first film holds a special place in fans’ hearts because of how surprising it was.

1 ‘Taxi Driver’ (1976)

Directed by martin scorsese.

Travis Bickle holding a gun in Taxi Driver

Martin Scorsese 's masterpiece is one of the best films ever made, serving as the perfect amalgamation of 1970s anxieties about social upheaval, toxic masculinity, and political corruption. Although it's a performance that has been parodied and recreated countless times since the film initially debuted in 1976, Robert De Niro ’s work as Travis Bickle is easily one of the greatest characters that Martin Scorsese has ever created on screen.

Taxi Driver creates a perpetual sense of uneasiness that forces the viewers to question what Bickle’s motivations are. Taxi Driver 's shocking ending suggests how the media will respond to his misguided attempts at heroism, arriving at a bleak conclusion. With several Academy Award nominations, including Best Picture and Best Actor, Taxi Driver is an all-time classic that continues to influence generations of filmmakers interested in taking a new spin on the vigilante genre.

Taxi Driver

NEXT: Every Jack Ryan Movie, Ranked By Rewatchability

Who Is Daniel Jones’ Girlfriend? Ella Bonafede’s Age & Relationship History

By Ishita Verma

NFL quarterback Daniel Jones is set to make a return to the field after quite a long time on August 17, 2024. After suffering from an ACL tear in the latter half of 2023, the New York Giants star has been away from the game. However, amid this major setback, Daniel Jones’ girlfriend has been a constant companion in getting him through the period of suffering.

So, here is all the information for NFL fans to learn about Daniel Jones’ partner and their relationship.

Who is Daniel Jones dating?

Daniel Jones is currently in a relationship with Ella Bonafede as of writing.

Even though Daniel Jones and his girlfriend have kept their love life away from the public eye, the duo seemingly share the same interests. The couple also seems to have the same understanding of sports and have even supported each other’s passions for years.

What is Ella Bonafede’s age?

Born on June 30, 1997, Daniel Jones’ girlfriend Ella Bonafede is 27 years old.

An athlete herself, the Cleveland, Ohio native was a part of the Blue Devils lacrosse team while pursuing a science degree at Duke University. As per her 2019 team page , she played at the attack position. Additionally, Bonafede gained a Masters degree in public health from New York University and is now employed as a medical researcher. (via LinkedIn )

Daniel Jones and Ella Bonafede’s relationship history

Daniel Jones and Bonafede’s relationship has been a closed affair and not much information is available about their dating life. However, as per a report by Hollywood Life , Bonafede made a social media post in 2019 and showered Jones with love as she wished him for his birthday. In 2020, she also showed her support for his NFL career when he replaced Eli Manning as the starting quarterback for the New York Giants.

However, a breakup rumor about Jones and Bonafede took over the internet in September 2020. While the couple appeared to have unfollowed each other on social media, the speculations eventually turned out to be false. (via Heavy ) Since then, Daniel Jones and his lovely girlfriend Ella Bonafede have chosen to keep both their social media accounts and dating life private. Yet, their relationship seems to thrive as they continue supporting each other’s careers.

Ishita Verma is an SEO contributing writer for ComingSoon. She is passionate about delivering authentic content and holds experience in SEO content writing. Apart from her quest to ensure her content is promising, Ishita is an avid Kdrama and anime watcher. Ishita is a bibliophile and also pursues gaming as one of her favorite pastimes.

Paul Thomas Anderson’s New Movie With Leonardo DiCaprio Has a $140+ Million Budget

One of Netflix's biggest 2024 shows is coming back for season 2 and its real-world reveal has to be seen to be believed

Roll on season 2 of The Gentlemen

The Gentlemen is coming back for a second season at Netflix.

As revealed by the streamer via the method of a giant flaming cigar (what else?), the Guy Ritchie-created series has been renewed for season 2. Filming on the new season is expected to commence in 2025. See the incredible real-world reveal for yourself below. Even Henry Cavill's Wolverine would be impressed with the size of that cigar.

Roll on Season 2 of The Gentlemen. 🔥Filming is due to kick off in 2025! pic.twitter.com/NbHjjTpmeM August 14, 2024

A spin-off of Ritchie's 2019 film of the same name, The Gentlemen sees Theo James' Eddie Horniman unwillingly inheriting his father's estate as the new Duke of Halstead – a title which includes a cannabis operation overseen by Susie Glass (Kaya Scodelario).

From there, Eddie must juggle running the organization and fending off multiple colorful characters from the criminal underworld, each looking to take a chunk out of his fledgling empire.

The Gentlemen, which also stars Daniel Ings, Joely Richardson, and Vinnie Jones, proved a success with viewers on Netflix upon its release in February.

The crime series hit 20 million weekly views at its peak and spent 10 weeks in the Netflix top 10 for total views for an English series – making it one of the streamer's biggest original hits of the year.

Ritchie – who can count Snatch and two Sherlock Holmes movies among his best-known works – is also directing a Ray Donovan spin-off "loosely" based in the series' universe. Titled The Donovans, he will be joined by Ronan Bennett, the showrunner behind another Netflix hit: Top Boy.

Sign up for the Total Film Newsletter

Bringing all the latest movie news, features, and reviews to your inbox

For more, check out our picks for the best shows on Netflix and the best movies on Netflix .

I'm the Senior Entertainment Writer here at GamesRadar+, focusing on news, features, and interviews with some of the biggest names in film and TV. On-site, you'll find me marveling at Marvel and providing analysis and room temperature takes on the newest films, Star Wars and, of course, anime. Outside of GR, I love getting lost in a good 100-hour JRPG, Warzone, and kicking back on the (virtual) field with Football Manager. My work has also been featured in OPM, FourFourTwo, and Game Revolution.

Gary Oldman’s seriously underrated Apple TV show gets new trailer for season 4 which turns up the action

Game of Thrones star Emilia Clarke joins as lead in one of our most anticipated comic book adaptations

After 65 failed attempts, Dark Souls speedrunner suffers their worst no-death randomizer defeat yet as a single rat chooses violence and shoves them off a rooftop

The History of The Far Side, Explained

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Few comic strips survive for 15 years and even fewer are widely remembered decades later, but The Far Side has achieved both. It enjoyed a brilliant run with numerous characters, absurd situations, and settings. Larson's single-panel style and refusal to reuse many characters helped it stand out as a unique fare among most other strips. It began in 1980 and ended in 1995.

However, The Far Side did not begin and end with its traditionally viewed length. Its roots had been laid long before 1980 and ended long after Gary Larson retired in 1995. The strip's history is complicated, but it is also essential to understand just how unlikely it was that the legendary strip would become the beloved comic that it has become today.

Nature's Way Preceded The Far Side

An elderly Einstein is playing basketball as his first career in The Far Side

The above strip was published on January 21, 1987.

Split image of The Far Side comics that broke the fourth wall

10 Times The Far Side Broke the Fourth Wall

Gary Larson's The Far Side series rewrote absurdist humor for an entire generation, often ignoring the fourth wall in the comic's funniest strips.

It can be easy to believe that The Far Side 's beginning truly came in 1980, but the reality is that it was born in 1976 . That year, Larson began working on the Nature's Way comic strip. It was remarkably similar, as it maintained the same single-panel and art styles. The exaggerated characters, anthropomorphic animals, and absurd situations all appeared in Nature's Way, just as it later would in Larson's more recognizable strip. It was published in only a sparing few newspapers, and Larson was left with little income from the strip.

Because of the economic challenges of creating a small-scale comic strip, Larson was forced to turn to other career prospects. The Far Side 's creator was left to work in a humane shelter, but he always had his ambitions set on making a name for himself as a cartoonist. Larson eventually reached out to the San Francisco Chronicle , which embraced his work and offered him a new contract. They eventually retitled his strip to the better-known The Far Side , which began a long run for the cartoonist.

Fortunately, the offer came shortly before the Seattle Times chose to axe Larson's controversial Nature's Way . Larson has repeatedly emphasized—especially in his book The Prehistory of the Far Side — that he would never have worked with The San Franscisco Chronicle if he knew that Nature's Way was so close to cancelation. Fortunately, history gave him the perfect timeline for his beloved series to be greenlit.

The Far Side Began in 1980

Dogs scoop poop and deliver mail in The Far Side's version of Dog Hell.

The above strip was published on June 8, 1986.

Split image of The Far Side comics featuring farm animals

10 Best The Far Side Comics Featuring Farm Animals

The Far Side often features farm animals as a means to make both hilarious and philosophical points throughout the series.

The strip's official origin came on January 1, 1980, as Larson published his iconic strip for the first time. It was not the first time it saw print, as The San Francisco Chronicle published an advertisement on December 31, 1979, featuring some of the panels to showcase what audiences could expect from Larson's work. While it did not spark overnight success, it was the beginning of a successful strip that has enjoyed a widespread following ever since. Larson was expected to produce the strip six times a week, though he was free of his obligations on Wednesdays.

Within a few years, the strip began appearing in hundreds of newspapers. Hundreds quickly evolved into over 1,000 and then reached nearly 2,000 before the end of its run. Larson published over 4,000 panels during its run. It was so successful that it was eventually adapted into an animated made-for-TV movie in 1994, Gary Larson's Tales from the Far Side . Tales from the Far Side was even successful, leading to a sequel in 1997.

Like other classic comic strips , the entire publication was quickly collected into 16 volumes of collections, ranging from 1982's initial The Far Side to 1996's Last Chapter and Worse . Last Chapter and Worse is the only major volume of the main collection to be published after the strip's conclusion. The individual books are still available for purchase on Larson's official Far Side website through The Complete Far Side collection. Larson also still sells the individual books and galleries of his work.

Larson Retired in 1995

Two bears are complaining about being lost on a busy city street in The Far Side

The above strip was published on September 6, 1983.

Split image of The Far Side comic strips featuring cats and dogs

10 Best The Far Side Comics About Cats

While Gary Larson may have favored cows, aliens, and dogs, he also featured cats in various forms across his iconic comic strip, The Far Side.

January 1, 1995 , brought an end to the beloved strip, however. The last strip was something of a rarity for Larson , as he released it as a two-panel strip. This was in extreme opposition to his traditional one-panel style, which was done for artistic purposes. The strip featured Larson waking from a dream, having imagined all the many bizarre panels that have made up his world. It was yet another instance of The Far Side breaking the fourth wall , and it appeared to be the last.

The end largely came because Larson believed the strip had run its course . He had no interest in keeping the comic moving unnecessarily when he feared that repetition would start to plague it. With his work done, he laid his beloved work to rest so that he could focus on his interests. Having retired, he resurrected his interest in music and other art forms, letting him express himself in more than just the traditional cartooning style he had been showcasing for 20 years.

The Far Side Entered Its Online Era in 2019

A small child holding a truck looks around in a dark forest in The Far Side

The above strip was published on November 13, 1985.

Did The Far Side Once Have to Explain a Joke to Every Newspaper That Carried It?

In the latest Comic Book Legends Revealed, discover the time The Far Side's Gary Larson had to explain a joke to every paper that carried the strip

After Larson's retirement, The Far Side remained dormant for decades. Nearly 25 years passed before audiences discovered that its sleep had been a hibernation rather than death . Through his website, Larson announced that The Far Side would be entering a new era and embracing the new world of online creativity. No longer would his strip remain contained on paper and in official publications. Instead, it would transcend previous mediums to find a new home online. Despite 25 years of silence, the community remained ready to welcome the strip back.

Larson had previously maintained a firm grip on his work, preferring not to allow publication online without his direct consent. The new online era would be different. The website would publish daily strips , mimicking the traditional newspaper comic strip publication style. Most of the offerings would be republications, but Larson occasionally slipped in new and unpublished strips to draw in audiences. They represented the first hint of any new material in decades, drawing excitement and attention back to the strip.

Today, The Far Side is still alive and active, with new publications still being released on the website. While Larson does not release those new works often, they are scattered in regularly enough that it is still worth visiting the daily publications section each day to see if some new anthropomorphic animal might be waiting to greet the reader. While The Far Side officially ran from 1980 to 1995, the true story is that it began in 1976 and still has not ended. The strip has periods of inactivity, but it has never truly died.

The Far Side

Gary Larson's The Far Side is a single-panel comic strip renowned for its offbeat humor and unconventional take on everyday life. Featuring bizarre situations, anthropomorphic animals, and quirky characters, the strip delves into surreal and absurd scenarios that challenge typical comic norms. Often blending dark humor with insightful commentary, it explores a range of themes from science to society, making readers both laugh and ponder the absurdities of existence.

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My Hero Academia: You're Next

Izuku Midoriya, a U.A. High School student who aspires to be the best hero he can be, confronts the villain who imitates the hero he once admired. Izuku Midoriya, a U.A. High School student who aspires to be the best hero he can be, confronts the villain who imitates the hero he once admired. Izuku Midoriya, a U.A. High School student who aspires to be the best hero he can be, confronts the villain who imitates the hero he once admired.

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October 11, 2024 (United States)
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A Vigilante (2019)
A Vigilante (2019) Cast, Crew, Synopsis and Information
A Vigilante (2019)
New To Blu: Cold Vengeance: A Vigilante (2019)
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A Vigilante (2019)

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A Vigilante movie review & film summary (2019)
Powered by JustWatch. "A Vigilante," which stars Olivia Wilde as a domestic abuse survivor who remakes herself as an avenging angel, is one of those small but brutal films that major directorial careers are made from. Every frame of it feels measured and thoughtful, even when the camera gets so close to its heroine's pain and rage that just ...
A Vigilante
A vigilante helps victims escape their domestic abusers. ... Rated: 4/5 May 31, 2019 Full Review Cath Clarke Guardian It's a tough, tense movie with a ...
'A Vigilante' Review: Vengeance Is Hers
Video by ONE Media. Vigilantism is a questionable fantasy of empowerment, but Daggar-Nickson makes her movie (largely) work by keeping everything — her antihero, the registers of violence ...
A Vigilante
Full Review | Original Score: 3/5 | May 2, 2019. A delicate and clever study of lasting scars both inside and out. Skillfully straddling the line between mourning and hope, A Vigilante delivers a ...
Olivia Wilde's 'A Vigilante' Is a Brutal, Relentless Revenge Thriller
A VIGILANTE ★★★. (3/4 stars) Directed by: Sarah Daggar-Nickson. Written by: Sarah Daggar-Nickson. Starring: Olivia Wilde, Morgan Spector, Betsy Aidem. Running time: 91 mins. It turns out ...
Mark Reviews Movies: A VIGILANTE
Become a fan on Facebook Follow on Twitter. Review by Mark Dujsik | March 28, 2019. Olivia Wilde's tough and bold performance nearly elevates A Vigilante, although the movie itself comes close to elevating this material on its own.Even without Wilde's portrayal of a survivor of domestic abuse, who channels her rage and grief into righteous violence against abusers, writer/director Sarah Daggar ...
A Vigilante
Surprising for quality rather than innovation. Olivia Wilde delivers the best performance of her career in this small but rough film. The film undoubtedly has problems and most of all because of its desperate attempt not to look like a film of the genre in which the storry obviously develops, but let's say that it's an aspect that can be ignored considering the direction that manages to ...
A Vigilante (2018)
A Vigilante: Directed by Sarah Daggar-Nickson. With Olivia Wilde, Morgan Spector, Kyle Catlett, Estefania Tejeda. After escaping her violent husband, Sadie makes it her life's mission to help free others in danger. After months of rigorous training in survival skills, boxing, and lethal martial arts, she is back with a vengeance.
'A Vigilante' Review: Olivia Wilde as an All-Too-Human Avenger
SXSW Film Review: 'A Vigilante'. In Sarah Daggar-Nickson's highly skillful debut feature, Olivia Wilde gives a defining performance as an all-too-human avenger of domestic abuse. In one of the ...
A Vigilante Review
A Vigilante is a 2019 crime drama about a woman who comes to the rescue of abused woman. The opening salvo of writer and director Sarah Daggar-Nickson's powerful A Vigilante begins with a close shot of a woman working a heavy bag, punching with increasing fervor, a fury in her eyes setting a dynamic start to an unnerving movie experience. It's a chilling start to a film that is often ...
A Vigilante
A Vigilante is a 2018 American crime drama film written and directed by Sarah Daggar-Nickson in her feature directorial debut.Starring Olivia Wilde, Morgan Spector, Kyle Catlett, C.J. Wilson, Tonye Patano, Chuck Cooper, Betsy Aidem and Judy Marte, the film follows Sadie (Wilde), a woman who makes it her life's mission to help victims of domestic violence break free from their abusers.
A VIGILANTE: Women Flip The Script
A VIGILANTE: Women Flip The Script. Alex is a film addict, TV aficionado, and book lover.…. There's hardly a dearth of vigilante movies on the market, but finding one where a woman takes on injustice still requires a bit of digging. For every The Brave One and Coffy, there are ten films about men breaking the law for the right reasons, and ...
A Vigilante Movie Review: When vengeance has substance
Finding strength in subtlety, Sarah Daggar-Nickson's A Vigilante begins with a single tearful voicemail. "I have two children who come home at 4:00, and I don't want them to get hurt," an ...
Review: A Vigilante (2019)
A Vigilante (2019) Directed by: Sarah Daggar-Nickson Premise: A woman (Olivia Wilde) who has escaped an abusive marriage lives off the grid and assists other women in similar situations. What Works: There is a well-established genre of vigilante movies that includes titles such as The Crow and Death Wish and The Equalizer.These films are stories of trauma and catharsis in which people who have ...
A Vigilante (2019)
A once-abused woman devotes herself to ridding victims of their domestic abusers while hunting down the one she must kill to be truly free. Sarah Daggar-Nickson. Join the Community. The Basics. About TMDB.
Everything You Need to Know About A Vigilante Movie (2019)
Across the Web. A Vigilante on DVD May 28, 2019 starring Olivia Wilde, Morgan Spector, Kyle Catlett, CJ Wilson. A once abused woman, Sadie (Olivia Wilde), devotes herself to ridding victims of their domestic abusers while hunting down the husband she m.
Movie Review: A Vigilante
Movie Review: A Vigilante. On July 14, 2019 By Norbert Haupt In Half a Star, Movies. I am looking out the window and the trucks won't stop coming. This is the first sentence battered women use to identify the purpose of the call when they call Sadie for help.
'A Vigilante': Film Review
March 11, 2018 10:45am. Courtesy of Alan McIntyre Smith. A taut revenge fantasy that takes the traumatic roots of its crime-fighting spree very seriously, Sarah Daggar-Nickson's A Vigilante ...
A Vigilante (2019) Review
A vigilante (Olivia Wilde) helps victims of domestic violence by acting with merciless severity against the perpetrators. The battle-hardened woman never loses sight of her own mission. I can't remember how I first heard of A Vigilante, but I remember mainly hearing about how great Olivia Wilde was, and that the movie was pretty good.
Movie Review: A Vigilante
Movie Review: A Vigilante. 30 Mar 2019 30 Mar 2019 - by Jim Alexander - Leave a Comment. 0 0 Read Time: 3 Minute, 0 Second . Olivia Wilde is dynamic as Sadie the vigilante. A Vigilante isn't just some pumped-up mystery thriller, it's a portrait of ...
'Vigilante' review: Olivia Wilde resuces domestic abuse drama
'A Vigilante' review: Olivia Wilde's abuse thriller doesn't play it safe ... Updated March 28, 2019, 2:59 p.m. ET. Movie review A VIGILANTE Wilde winner Running time: 91 min. Rated R ...
A Vigilante Blu-ray Review
A Vigilante had good intentions but thanks to the slow and awkward delivery of a familiar story, that it was tough to sit through but for the wrong reasons. The only redeeming value I could find was Olivia Wilde's emotional performance. A Vigilante. (2019) Genre (s): Drama, Suspense. Lionsgate | R - 91 min. - $21.99 | May 28, 2019.
A Vigilante (2019) Review : r/moviecritic
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10 Best Movies About Vigilantes, Ranked
Scott had previously experimented in the vigilante genre with the 1990 neo-Western thriller Revenge with Kevin Costner, but Man on Fire represented a significant step forward in terms of action ...
'Watchmen: Chapter 1' Review: The 'Citizen Kane' of Superhero ...
The latest attempt to adapt their work, "Watchmen: Chapter 1," is a CG-animated two-part motion picture, faithfully recreating many of the panels from the comic and much of its narration and dialogue.
Who Is Daniel Jones' Girlfriend? Ella Bonafede's Age & Relationship History
As per her 2019 team page, she played at the attack position. Additionally, Bonafede gained a Masters degree in public health from New York University and is now employed as a medical researcher.
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A spin-off of Ritchie's 2019 film of the same name, The Gentlemen sees Theo James' Eddie Horniman unwillingly inheriting his father's estate as the new Duke of Halstead - a title which includes ...
The History of The Far Side, Explained
The strip's official origin came on January 1, 1980, as Larson published his iconic strip for the first time. It was not the first time it saw print, as The San Francisco Chronicle published an advertisement on December 31, 1979, featuring some of the panels to showcase what audiences could expect from Larson's work. While it did not spark overnight success, it was the beginning of a ...
My Hero Academia: You're Next (2024)
My Hero Academia: You're Next: Directed by Tensai Okamura. With Kaito Ishikawa, Yûki Kaji, Kenta Miyake, Mamoru Miyano. Izuku Midoriya, a U.A. High School student who aspires to be the best hero he can be, confronts the villain who imitates the hero he once admired.

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‘A Vigilante’ Review: Vengeance Is Hers

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Reviewed at SXSW Film Festival (Narrative Spotlight), March 10, 2018. Running time: 91 MIN.

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Review: A Vigilante (2019)

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