New on NewsReal – Miraculous GOP Turnaround Causes Michael Moore to Drop the Act and Ask Obama to Disenfranchise Wisconsin

My latest NewsRealBlog post:

In a stunning development, a clerical error in Wisconsin has transformed what many expected to be a long, ugly legal battle favoring the Left into an almost certain victory for the Right, outraging leftists like Michael Moore, to the point where the radical “documentarian” has stopped bothering to hide his disdain for the democratic process.

The intense Wisconsin Supreme Court race between the incumbent Republican, Justice David Prosser, and his Democrat challenger, state DNR enforcer JoAnn Kloppenburg, ended Wednesday with the latter declaring victory based on the Associated Press’s calculation of a 204-vote lead. Prosser didn’t budge, and most predicted an onslaught of recounts and vote fraud litigation to ensue.

But on Thursday evening we learned that Waukesha county clerk Kathy Nickolaus had erroneously passed on the county’s data to the AP without the numbers from the city of Brookfield, which shifted the lead to Prosser by more than 7,000 votes. Leftists are predictably outraged that hijacking the judiciary to thwart Governor Scott Walker’s public-sector union reforms won’t work after all, though none have topped the overreaction of Moore, who tweeted last night:

Republicans created the rule: “Whoever declares victory first, wins!” When will Obama Justice Dept impound ballots and stop the shenanigans?

Much has been said about the totalitarian impulse and anti-constitutionalism behind modern leftism, but rarely is it expressed so overtly by one of their own. Moore wants the federal government to forcibly prevent the certification of a state election and give the office to someone based strictly on her own, premature and entirely unofficial, declaration of victory?

Read the rest on NewsRealBlog.

New at NewsReal – Personal Income As a "National Resource": A Look at Michael Moore’s Brave New Collectivist World

My latest NewsRealBlog post:

Sure, we’re all a little spooked about the huge debt our government is accumulating, but everybody can relax now; our favorite anti-American, far-left propagandist, Michael Moore, has the solution. Admittedly, it’ll take some minor changes in the way we think about wealth, which some of you might like, but you’ll get used to it—after all, you’re not greedy, are you?

Moore recently had this to say about the rich:

“They’re sitting on the money, they’re using it for their own — they’re putting it someplace else with no interest in helping you with your life, with that money. We’ve allowed them to take that. That’s not theirs, that’s a national resource, that’s ours. We all have this — we all benefit from this or we all suffer as a result of not having it,” Michael Moore told Laura Flanders of GRITtv.
“I think we need to go back to taxing these people at the proper rates. They need to — we need to see these jobs as something we some, that we collectively own as Americans and you can’t just steal our jobs and take them someplace else,” Moore concluded.

Much has been made about how Moore himself won’t return his own generous share of this “national resource,” but even if he were more magnanimous, his argument wouldn’t be any less outrageous. For one thing, it ignores the fact that the rich already pay a disproportionately high share of the tax burden individually, and US corporate taxes are among the highest in the world, too. For another, we’ve run this experiment several times in American history, and the verdict is in: if you want to raise government revenue and increase prosperity for all Americans, then the direction you want taxes to go is down, not up. As a businessman, you’d think Moore would understand that when businessmen pursue their own interests, it actually does tend to have the effect of “helping you with your life, with that money,” by creating new jobs for the purpose of creating goods and service that people want.

Read the rest at NewsRealBlog.

Movie Review: “An American Carol”

Lots of conservatives (me included) got excited back when David Zucker’s An American Carol was announced.  As a fierce, openly conservative film from mainstream Hollywood talent, it sparked hopes that it could bring conservative messages to segments of the population the Right doesn’t normally reach and bring about a larger conservative presence in American pop culture.  Unfortunately, it didn’t do all that well commercially.  I’ve seen it a couple times now, and have some thoughts on what worked, and what went wrong.

To recap for those unfamiliar, An American Carol tells the tale of a sleazy, America-hating director who has been recruited by two bumbling al-Qaeda terrorists to produce a recruitment video, but the spirits of past American heroes (plus, uh, Trace Adkins) intervene to teach him some much-needed lessons about the price of liberty.  Will Michael “Malone” come to his senses in time to foil the jihadists’ latest plot?

An American Carol does a few things right.  For one, the casting is absolutely superb.  Kevin Farley looks just like Michael Moore, and perfectly captures the boorish, self-serving creep (albeit far more likeable than the real thing).  Chriss Anglin makes a great John F. Kennedy, both looking like the president and capturing his distinctive voice without descending into parody.  Kelsey Grammar’s portrayal of General George S. Patton is confident and cantankerous, and while it won’t dethrone George C. Scott’s legendary performance anytime soon, it doesn’t need to—this is a comedy, not a biopic.  Jon Voight delivers an outstanding, albeit criminally brief, performance of President George Washington that’s so somber and dignified that I’d love to see Voight star in a Washington biopic.  Robert Davi is strong as the jihadists’ ruthless leader, and his two bumbling underlings provide lots of laughs (“All the really good suicide bombers are gone!”)  The supporting cast does fine, Bill O’Reilly has a couple amusing appearances as himself, and there’s Leslie Nielsen.  If you don’t love Leslie Nielsen, there’s something wrong with you.  The likeable cast keeps the movie going even through some of the weaker jokes.

There are plenty of laughs to be had—this is from the guy behind Airplane! and the Naked Gun movies, after all.  Most of the best material revolves around the two Taliban twits, and my favorite part of the movie was a simply brilliant sequence involving zombies (I’ll say no more so as not to spoil it).  Funny one-liners abound, and, of course, it’s just not a Zucker movie until bad things happen to children with severe medical problems.  On the other hand, the idea of a musical number featuring a pack of hippies-turned-academics certainly has potential, but its execution soon becomes almost painful.

Unfortunately, the film’s effectiveness at conveying a message falls flat.  Often the caricatures of left-wing fallacies such as appeasement, academic indoctrination, and anti-Americanism are so clichéd, unsympathetic and over-the-top that they come across as wooden, transparent, and sometimes even juvenile.  The dialogue put in liberal mouths is often little more than left-wing bumper-sticker lines strung together, with the worst offenders being an early conversation about war between Malone and his military nephew, and a talk show where Rosie “O’Connell” pushes her crackpot theory that “radical Christianity is just as dangerous as radical Islam.”

These caricatures lack the subtlety and natural flair that superior political satirists like Paul Shanklin, the Onion, and (even to some degree) the writers on the Daily Show and Colbert Report have mastered (I think this was the same problem that plagued Fox News’ short-lived Half-Hour News Hour).  It’s easy to knock down a straw man, but it’s not effective—I didn’t find Malone’s conversion to patriotism convincing because I didn’t find the film’s arguments persuasive, and I doubt anyone who doesn’t already know the underlying principles and arguments would be persuaded either.  And aside from entertaining, wasn’t that the point—to get the other side of the story into mainstream entertainment?  Keeping that in mind, conservatives shouldn’t be discouraged by An American Carol’s lack of success.  It still remains to be seen how a truly excellent, openly conservative film would fare at the box office, one that better balances silliness and substance.

An American Carol isn’t a bad movie—strong performances and classic Zucker wit make it an enjoyable 83 minutes, and conservatives will get a kick out of how mercilessly it skewers all manner of left-wing idiocy.  But sadly, it fails to be significantly more than just that—a right-wing guilty pleasure.