Hobo with a Shotgun is a 2011 exploitation black comedy action film directed by Jason Eisener and written by John Davies.

Hobo with a Shotgun premiered at the Sundance Film Festival on January 21, 2011, on March 25 in Canada, and on May 6 in the United States.

The Drake and his sons arrive and label him a traitor to the townspeople before publicly decapitating him with a barbed-wire noose attached to a moving car.

The next day, the Hobo goes to the filmmaker and completes a series of degrading acts, including chewing glass, to get enough money to buy the lawn mower.

Realizing that Hope Town needs justice, he buys the shotgun and proceeds to kill dozens of criminals, including the filmmaker, a pimp, a coke lord, and a pedophile dressed as Santa Claus.

Back at her apartment, the Hobo tells Abby of his plan to leave the town and start a lawnmowing business, which she enthusiastically supports.

The Drake, mourning the death of his favorite son, summons "The Plague", a duo of armor-clad demons named Rip and Grinder.

Although the Drake severs Abby's hand with the lawnmower shield, she stabs him repeatedly with her exposed arm bone and incapacitates him.

The townspeople, motivated by Abby's bravery, show up with their own weapons and proceed to aim them at the shocked police, who demand that they leave the area.

In an extended ending that was taken out from the final cut of the film, Abby's hand is replaced by a gatling-style shotgun as she becomes a new member of the Plague.

Hobo with a Shotgun, directed by Jason Eisener, was initially a fake trailer made for an international contest to promote the release of Quentin Tarantino and Robert Rodriguez's double feature Grindhouse.

"[17] In his review for National Public Radio, Scott Tobias wrote "There's something pure about the crude pleasures of Hobo with a Shotgun, a pre-fab cult film that aspires to nothing more (or less) than the red-meat feeding of a feral midnight-movie audience", and that the film is "just raw sensation, built on a series of shocks that keep topping themselves for cartoonish grotesquerie".

[19] In his negative review of the film Ty Burr wrote in The Boston Globe that although it "revels in the trash aesthetic of ’70s trash cinema, from its over-saturated colors to its intentionally bad acting", the film "illustrates a modern B-movie principle: If you set out to parody junk, you will more than likely end up with junk".