No, as Mark Steyn explains far better than I could:
I see that conservative critics are blaming Hollywood's listless summer on its blockbusters' off-putting politics: In the new Lone Ranger, the sidekick is the star and the bland pretty boy playing the Ranger is just (in Tonto's words) a "stupid white man"; in White House Down, an Obama-esque hopeychangey president comes under siege in the people's house from Tea Party–type terrorists.
Granted, it's all terribly tedious, but it's not really "political" in any meaningful sense. In The Lone Ranger, the baddies are top-hatted mustachioed railroad barons because the formula dictates someone has to be the villain and, for a multinational conglomerate like Disney, big business is the easiest to hand. In Olympus Has Fallen, last month's blockbuster about terrorists attacking the White House, the baddies were North Koreans, which superficially has some connection to reality but in the end is no more grounded than the right-wing Palin worshipers. There's a scene in which the president demands to know why traitorous Secret Service agent Dylan McDermott has gone over to the Norks, and he mumbles something about banks . . . bailouts . . . whatever . . . Are we done yet? Can we get back to the explosions now? Rehearsing Damn Yankees 60 years back, the great Broadway director George Abbott was famously asked by one actor what his motivation was: "Your paycheck," snapped Abbott. Dylan McDermott's motivation is apparently Lehman Brothers' paychecks, which is even less persuasive. The Russian villain in A Good Day to Die Hard dispenses with the same perfunctory pretext more adroitly: "Do you vont to know vot I hate about America?" Stage pause. "Everything!"
Everything — and nothing. Which is a bit of a problem if you're looking for a film about . . . something.
