Revenge fantasy in cinema will never go out of style, but in a more sensitive age, vigilante films without a thoughtful touch can meet their own swift and merciless end. Take Eli Roth‘s neo-conservative wet dream remake of “Death Wish,” recently savaged by audiences and critics for its soulless, unthinking vengeance. The masculine, gung-ho individualism of this genre, aggressively promoting Second Amendment rights to enact revenge, might have worked a few years prior, but today, feels tone deaf, dated and poorly-timed.