By Brent Baker | February 4, 2012 | 6:51 PM EST

In a movie opening next week, left-wing activist Woody Harrelson (IMDb page) plays a dirty cop in 1999 Los Angeles whose character impugns the Founding Fathers as “all slave-owners” and warns that if he is fired “I’ll have my own show on Fox News inside one week.”

“I am not a racist,” he declares in a clip from Rampart played on Thursday’s Late Show, arguing: “Now, you want to be mad at someone, try J. Edgar Hoover. He was a racist. Or the Founding Fathers, all slave-owners.” Some Founding Fathers owned slaves, but far short of “all.” In a scene in the promotional trailer featured on Millennium Entertainment’s site for the film, Harrelson’s dirty police officer character threatens: “If you force me to retire, I’ll have my own show on Fox News inside one week. You’ll be my first guest.” (Video of both scenes below)

By Kyle Drennen | January 16, 2012 | 12:51 PM EST

Appearing on Monday's NBC Today to discuss Golden Globe wins for several of his films, producer Harvey Weinstein was particularly proud of the Margaret Thatcher biopic, "The Iron Lady," selectively praising the former British prime minister: " see the values that Margaret Thatcher espouses....she was a social progressive, she was, pro, you know, health service."                

While Weinstein acknowledged Thatcher to be "fiscally conservative," he seemed to warn those who see her as a conservative icon: "There are myths that we blow away in the movie....Those people who put her name in vain are just lying about it. So I think the movie's explosive and fantastic."

By John Nolte | November 16, 2011 | 6:50 AM EST

Kyle Smith of the New York Post and I may share a similar political philosophy but we rarely agree on films. I sense we might agree on this one:

…but as “J.Edgar” sits at an astonishing 39 percent [at Rotten Tomatoes] it would be disingenuous not to notice that this film is getting hammered by critics. Despite its Oscar-winning director, writer (Dustin Lance Black) and Oscar-nominated star Leo DiCaprio, it is at the same approval level as “Immortals.” This is a disaster for a serious, highbrow, historical drama. The thought of critical reception didn’t occur to anyone on the set of “Immortals” but “J.Edgar” was made to win critical hosannas and Oscars....Oh, and “J.Edgar” is terrible and I predict pitiful box office and zero Oscar nominations.

By Clay Waters | October 20, 2011 | 9:29 AM EDT

Appearing on the front of the New York Times Arts section Tuesday interviewing Pixar founder and “Cars 2” director John Lasseter, Hollywood reporter Brooks Barnes indulged in his preoccupation with political correctness on screen and in movie studios: “It Wasn’t a Wreck, Not Really.”

The "wreck" in question was the critical opprobrium foisted upon the "Cars" sequel, which Lasseter directed. He defended the movie, the only true critical flop from the innovative animated movie studio. But Barnes wanted to talk quotas.

By Clay Waters | September 14, 2011 | 4:45 PM EDT

The front of Wednesday’s New York Times Arts section featured Dwight Garner’s review of the new book by left-wing documentary film-maker Michael Moore, “Here Comes Trouble -- Stories From My Life.”

Garner, a fan, called Moore (infamous for his anti-conservative conspiracy theories and vicious, purposely misleading mockery of Republicans) a “necessary irritant,” and in one nauseating paragraph suggested Moore’s book belonged alongside works by the revolutionary founding activist Thomas Paine.

By Ken Shepherd | September 2, 2011 | 3:58 PM EDT

An R-rated flick about a bunch of friends having an orgy gets hailed in today's Weekend Arts section as a "friendly, ramshackle comedy" albeit "somewhat laugh-deficient" while a G-rated drama about a young golfer being mentored by a retired pro is panned as a "stultifying hybrid of instruction film and Christian sermon" that "swoons into its own solemn sanctimony."

That's how New York Times film critic Stephen Holden treated "A Good Old Fashioned Orgy" and "Seven Days in Utopia," respectively, in the September 2 paper. Both movies debut in theaters today.

By Ken Shepherd | August 18, 2011 | 4:40 PM EDT

Richard Corliss, a liberal film reviewer who found Oliver Stone's "W." too tame for his tastes has decided to let his readers know that, some two years and seven months since the 43rd president left office, he's still not over his anti-Bush derangement.

Corliss shoehorned his strange asides about President George W. Bush -- and 2012 presidential hopeful Gov. Rick Perry (R-Texas) -- in his  August 18 review of this summer's remake of "Conan the Barbarian":


By Matthew Sheffield | August 10, 2011 | 4:05 PM EDT

Is the Obama Administration inappropriately disclosing classified data to movie producers in the hopes of getting a film about the killing of terrorist mastermind Osama bin Laden released before the 2012 election? That is the question that Congressman Peter King (R-NY) is asking after word got out that the White House is giving inside information about the military raid that killed bin Laden earlier this year to the creators of the Oscar-winning film "Hurt Locker."

"This alleged collaboration belies a desire of transparency in favor of a cinematographic view of history," King wrote in a letter addressed to officials at the CIA and the Department of Defense which asked for full details on the government's involvement with the film. The Defense Department acknowledged the collaboration in an interview with the Wall Street Journal:

By Brent Baker | August 6, 2011 | 1:56 PM EDT

A reminder this week Hollywood moguls aren’t just enthralled with Barack Obama. They are also ideological liberals who have disgust for conservatives and are especially enraged by the Tea Party’s success.

Explaining his $2 million donation to a left-wing political action committee, DreamWorks Animation CEO Jeffrey Katzenberg told USA Today he was motivated by how “outside Republican spending in 2010 led to the election of ‘Republican extremists.’”

By Brent Bozell | July 30, 2011 | 11:10 PM EDT

They say the movie theatres make more money on popcorn, candy, and soft drinks than they do on the movie tickets. If that’s true, theatre owners really ought to reconsider the previews they’re airing. They can make you sick to your stomach.

I don’t know why Hollywood moviemakers are so fascinated by with flatulence and excrement. It’s become almost an obsession, a formality of sorts in the “humor” oeuvre.


By Clay Waters | June 28, 2011 | 1:09 PM EDT

“Page One,” a new documentary about a year in the life of the New York Times directed by Andrew Rossi, is showing at the sleek new Lincoln Center theatre on Manhattan’s Upper West Side for a mere $13. While not openly partisan or even political (there were no Obama stickers spotted on desks, no rants about the paper’s myriad conservative critics), “Page One,” which captures in semi-compellingif scatter-shot fashion a year or so in the life of the Times’s media desk, fits snugly in to the Upper West Side mentality of entitled liberalism.


It’s a running conversation running over with angst, as Times reporters tackle stories about new media while simultaneously pondering the paper’s own place in the rearranged cosmos, as the paper’s very reason for being seems under attack in the age of Facebook, Twitter, and liberal news aggregators like the Huffington Post stealing audience.

By Tim Graham | June 27, 2011 | 6:50 AM EDT

Last week, NewsBusters explored how the new Pixar cartoon Cars 2 promoted a Big Oil vs. Alternative Fuel plot. But blogger Josh Berta of the Design Observer Group has an entirely different worry. He thinks the cartoon is promoting the religious view of an Intelligent Designer who made the world:

While it was less than loved by critics, there is no question it was a commercial success. In fact, some would say it is Pixar’s most obvious grab at a pay day, appealing to the NASCAR set without even the thinnest of veils. But I would argue its middle-American appeal goes much deeper than its subject matter. Indeed, I believe Cars is a vehicle for the conservative, science-denying belief known as Intelligent Design.