As most rational people understand, liberal-leftists are only liberal when they agree with what is being said or done, when they find the rare conservative who agrees with them, and when they know they’re right, which is just about always.    

Some recent films must seriously perturb our liberal friends because they illustrate values foreign to the lib mindset, because they reveal truths they find unsettling, or because they depict a past or a future that forces them to retreat into their denial cocoons as a defense against reality. 

On the other hand, they simply love movies like Django Unchained that reflect their nihilism, negativity, and fundamental disregard for decency. 

Go figure. 

  Les Miserables, the film–not the classic novel by Victor Hugo–is an overly-long, somewhat-tinny reproduction of the Broadway musical drama featuring actors pretending to be singers but with the same outstanding score and music, and with amazing visual effects. 

What bugs libs are the Les Mis themes of “old-fashioned values” and themes of ”faith, grace, justice, the experience of God through love. . . dealt with honestly and entertainingly throughout,” according to PJMedia.com’s Andrew Klavan. (http://tinyurl.com/alvmo9u)  

Lib-leftists are big into justice such as when black men vengefully and mercilessly whip and murder white men in Django but faith, grace, and God are concepts they regard as irremediably antiquated.  

So, too, do conservative motifs in The Dark Knight Rises and Zero Dark Thirty seriously rock liberal psyches to their core while Atlas Shrugged: Part II may very well have caused them to retch and Obama’s America: 2016 could easily induce apoplectic fits. 

All those reactions assume liberals would dare attend any of those films, an unlikelihood unless someone bought them a ticket or if they planned in advance to criticize them to shreds and needed to manufacture some ammunition.   

  The lib issues with Christopher Nolan’s Dark Knight center on its provocative–to liberals–depiction of a persecuted billionaire pitted against the thuggish forces of evil who despise capitalism and freedom.  Batman eventually saves Gotham by altruistically sacrificing his own life. 

A billionaire superhero preserving capitalism and freedom?  Defeating anti-social, tyrranical criminals?  Altruism? 

None of that computes with the leftist set. 

  Nor does the truth contained in Kathryn Bigelow’s historical docudrama Zero Dark Thirty go over very well in Liberal Land.  Zero had the temerity to reveal that, indeed, President G.W. Bush, his Defense Secretary Donald Rumsfeld, and the CIA were absolutely right in approving “enhanced interrogation techniques” to persuade Islamic terrorists to spill their guts.  

Those guts enabled President Obama, who was absolutely opposed to techniques he and his fellow lib-leftists found horrifying, to claim credit for Navy SEAL Team Six’s elimination of the mastermind of 9/11, Usama bin Laden.   

  Atlas Shrugged Part II–a sequel to the 2011 box office flop adaptation of Ayn Rand’s objectivist-libertarian speculation on what would happen if the world’s producers abandoned the planet to the takers–fortunately adheres more closely to Rand’s, and John Galt’s, philosophy that ”a free mind and a free market” are essential to the existence of free societies. 

The liberal-left preaches freedom but believes and practices the opposite.  They believe that people are subservient to governments, that profiting from one’s labor and initiative is evil, and that socialistic control of industry represents the best of all possible worlds and, whenever they seize the opportunity, institute policies to implement those socialistic beliefs. 

(Sounds very much like Barack Hussein Obama’s successful game plan for Election 2012.)  

  If anything gave liberal-leftists “agina” last year, the record-setting Dinesh D’Souza-Gerald R. Molen political documentary 2016: Obama’s America had to do it.  The film’s subtitle “Love Him, Hate Him, You Don’t Know Him” alone had to unnerve Obama’s dedicated fan club. 

More accustomed to flattering PBS, NPR, MSM Obama portraits, his base had to cringe at the thought of anyone hating their hero or, worse, suggesting they really knew little or nothing about him.  2016: Obama’s America not only exposes their hero as a fraud–and a dangerous charlatan, at that–but exposes the lib-left as criminal accomplices in his elections by virtue of their ignorance.

Americans should thank God that amid all the liberal-leftist filth emanating from Hollywood and despite Hollywood’s propagandastic films blatantly or surreptitiously advocating degrees of nihilism, films like Les Miserables, The Dark Knight Rises, Zero Dark Thirty, Atlas Shrugged: Part II and Obama’s America: 2016 made it to movie screens.  

Things could be worse.  Imagine if people like Quentin Tarantino were able to dictate everything we watch!