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The self-proclaimed liberal director of “Crash” told the Los Angeles Times that political movies were back. If he meant that there are more political films now than there have been in recent years, he’s right. If he meant they were doing well at the box office, he’s wrong.

The height of the political film and art film successes was during the height of the Baby Boom. From “Dr. Strangelove Or How I Learned To Stop Worrying And Love The Bomb” to “Seven Days In May” to “The Manchurian Candidate” in the early 1960s to “Planet Of The Apes” (1968), “Billy Jack” (1971) and “All The President’s Men” (1976), there were plenty of films with political messages. They also did well at the box office because the adolescents who enjoyed rebelling against their parents embraced them as their blueprints for life.

However, the director of “Crash” might notice there are fewer adolescents today as a proportion of the population. Someone has killed the box office for these movies. Perhaps it’s the liberals themselves by aborting their audience. Imagine what these left-wing ideologues could have done if they hadn’t killed 50 million moviegoers since 1972?

So now, their movies barely make it into the lower echelon of the top box-office movies. Either they’re going to have to learn to grow up and make good movies, or they’re going to have to join the right-to-life crowd so that there will be a new generation of adolescent moviegoers.

Of course, this year they’re trying to inflate the box office for their radical leftist, neo-Marxist movies by handing out major film awards like they were candy.

Hopefully, the vast majority of today’s moviegoers will ignore these political peddlers, pseudo-intellectuals and phony compassion pimps.

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