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These 10 Liberal Films Flopped Big Time in 2017

The last 12 months haven’t been kind to movies with a left-of-center agenda.

Hollywood had a lousy 2017 in toto, of course. Summer box office receipts hit their lowest mark in more than a decade. Credit “The Last Jedi” and “It” for making up some of the lost coin in the year’s waning months.

Liberal films fared worse.

Think “Suburbicon,” “Downsizing” and “An Inconvenient Sequel: Truth to Power” as just three examples. The latter earned a fraction of the 2006 original’s box office haul.

An Inconvenient Sequel: Truth To Power (2017) - Official Trailer - Paramount Pictures

There were exceptions, of course.

“Get Out” scored big with audiences and critics, spreading a scary message about racism along the way. How? By torching woke liberals as being less than genuine.

“The Last Jedi” embedded some liberal themes in its story, although those small moments couldn’t derail the saga’s box office clout.

The following liberal films, by comparison, flopped bigly, to paraphrase a certain president. Box office figures courtesy of


The Damage: $5.4 million

The Liberal Angle: The George Clooney drama fused a discarded Coen brothers script with the tale of a black couple hounded by white neighbors. The latter flowed from a horrible true story, but the lectures about suburbia’s hate wasn’t lost on audiences.


The Damage: $45 million

The Liberal Angle: The film’s female empowerment angle wasn’t as overt as its star’s liberal brand. Amy Schumer’s persona is overwhelmingly liberal in 2017, down to her comparing Trump voters to KKK members. The comic who scored big time with her starring vehicle “Trainwreck” saw her box office clout deflate on her sophomore effort.


The Damage: $67,880

The Liberal Angle: The dystopian thriller features racist Red State dwellers declaring war on Hipster Brooklyn.


The Damage: $11 million (as of Dec. 27)

The Liberal Angle; The story revolves around a technology designed to assuage overpopulation and climate change woes. How? By shrinking people to a fraction of their original sizes.

An Inconvenient Sequel: Truth to Power

The Damage: $3 million

The Liberal Angle: Al Gore returns with both climate change alarmism and a smattering of hope tied to green energy advancements.

Battle of the Sexes

The Damage: $12 million

The Liberal Angle: The film, based on the epic 1973 tennis match between Billie Jean King and Bobby Riggs, piled on the feminism via an oh, so clunky script.


The Damage: $17 million

The Liberal Angle: Darren Aronofsky’s divisive film is a parable about what happens when you mistreat Mother Earth.

Roman J. Israel, Esq

The Damage: $11.8 million

The Liberal Angle: Denzel Washington’s SJW lawyer runs up against like-minded souls who think he isn’t nearly woke enough for the 21st century.

The Little Hours

The Damage: $1.6 million

The Liberal Angle: The R-rated comedy follows a gaggle of nuns who behave in less than spiritual ways. (Imagine a similar comedy targeting Muslims…)

Professor Marston and the Wonder Women

The Damage: $1.5 million

The Liberal Angle: The biopic of Wonder Woman’s creator glamorizes polygamy along with embedding erotic content into children’s fare.

BONUS: Here’s a handy graphic capturing the aforementioned liberal films.

Created using Visme. An easy-to-use Infographic Maker.


  1. Hollywood can survive for a while on inertia (all the remakes), a large bankroll of investment and intellectual property to draw down and now boatloads of Chinese money.

    Of course, people will probably like Chinese propaganda even less than SJW propaganda, and more and more alternatives are out there and accessible, so the long term view isn’t good at all.

  2. Love that graphic at the end – good stuff!

    Note that Marvel Comics has been following this same business model for the last few years – the comics, not the movies/TV shows. Turning all of their classic heroes into left-wing propaganda mouthpieces (or getting rid of them altogether), their comics are now selling a tiny fraction of what they used to. A new Editor-In-Chief seems to finally be getting the company back on the right track, but like the Hollywood titles listed in this article, it’s a sad reminder that propagandists don’t care about sales, just getting the propaganda out there is a win for them. Until they finally lose their clout, that is.

  3. You forgot ‘Star Wars The Last Jedi’, where they killed off as a miserable failure the last heroic white male character in Star Wars. Now it is ALL women and gays and minorities, with white males 100% relegated to the villain roles.

    1. Big deal. White males were the bad guys in the original trilogy and the ghastly prequels as well. They are also the vast bulk of the Resistance.

      And despite his early reticence in the film, Luke Skywalker was still the kickass hero in The Last Jedi.

      And unless you count C3PO as gay, I don’t recall any gay characters, good or bad. Get a grip.

      1. differerence between now and then: in the previous films there were both good and bad white guys. Now there aren’t any white good guys.

        I think the reference to gay characters is that there is an almost obsessiveness in the tendency for fans to ship Poe and Finn.

      2. Who cares what leftist dreck Hollywood puts out? The message movies always flop badly at the box office, and that just hastens Hollywood’s inevitable collapse into irrelevance. If Al Gore and his ilk want to keep producing $100 million flicks which show in empty theaters, bravo!

  4. I care only enough to comment; HAHAHAHAHAHAHAHAHAHAHA! Problem is, Clooney, Damon, Schumer etc., ain’t spending their own money on these flops.

  5. Does anyone know what “The Damage” figure refers to? Is that the opening weekend box office? Or the first week? Total box office to date perhaps?

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