Since the days of the House Un-American Activities Committee, Hollywood has been targeted for what conservative critics perceive as a hard-left, anti-American agenda. If there is such an agenda, it’s hard to detect in Hollywood’s most successful films, blockbusters like 2012’s top-grossing film, The Avengers, in which usually American superheroes step in — generally backed by U.S. military firepower — to save the rest of the world from aliens, mutants, supervillains, or other threats. (Many have even read Christopher Nolan’s Dark Knight trilogy as a defense of executive power in the war on terrorism.)
But it’s fair to say that the kind of prestige films that get nominated for Oscars tend to come from one side of the political spectrum. From Vietnam-era dramas like Apocalypse Now and Full Metal Jacket to the growing number of Iraq movies like Green Zone and 2009 Best Picture winner The Hurt Locker, the most celebrated movies have tended to take a critical look at America’s wars, often questioning the motives of senior officials and examining the psychological effects on the men who fight them. From Jack Nicholson’s sneering colonel in A Few Good Men to the cynical incompetence of the officers in Three Kings, the military tends not to get too positive a portrayal when the movie is about an actual war, rather than an alien invasion. (World War II movies are a possible exception, but even films like Saving Private Ryan are more about how the war affected individuals than military achievement.)
Not that the civilians fare much better. Whether they’re colluding with the communists (The Manchurian Candidate), whacking their own people (The Parallax View), concocting a war to cover up a president’s improprieties (Wag the Dog) or standing idly and incompetently by in the midst of a genocide (The Killing Fields), Hollywood has taken a dim view of U.S. policymakers and diplomats. (Steven Soderbergh’s virus thriller Contagion, entirely ignored by the Academy, is a notable exception.) They get off easy compared to global corporations, invariably the villains in films like Syriana and The Constant Gardener.