‘The Battle for America’ Review: Documentary Masterpiece, Epic Call to Vote

The Battle for America,” like “The Return of the King,” is the climactic end of an epic journey. In a concise, packed 82-minute film, Citizens United paints a vivid portrait of the atrocities of this present Congress and administration, reminding viewers that we’ve got one shot on November 2 to replace our elected officials, or endure another two years of bailouts and government takeovers.


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This Tea Party dream film (complete with credits inspired by the “Don’t Tread On Me” flag) boasts a fiery visual narrative constructed from a collection of spliced interviews, C-SPAN feeds, news reels, Hollywood and archival footage strung together in a montage sequence making the film’s pace akin to a trailer. And that’s what “The Battle” really is. It’s a feature-length trailer, chronicling the last two years and calling out the government for atrocities committed. If everyone in America watched this trailer, I’d wager we’d have the highest turnout with the most conservative vote in U.S. history.

And with section titles like “Village of the Damned: Radical Chic,” it’s hardly your stereotypical conservative documentary, as it pushes the limits through brilliant montage imagery that shows as much as it verbally tells. Combined with brilliant narrators, it’s smart but accessible, with insight sure to incite a revolution at the polls.

It is a beautiful summary of President Obama’s two years in office. Starting with the 111th Congress taking the oath of office, it devolves into the cacophonous disaster that this Congress has been, as countless Congressional leaders swear to defend the Constitution, then months later belittle, ignore or criticize the very document they swore to uphold.

Much like Martin Luther’s 95 Theses, or the U.S. Declaration of Independence, “The Battle for America” is the monologue of a movement fed up with the status quo – in this case, a nation staunchly opposed to recent crimes against liberty committed by the present Congress and administration.

Dick Morris, self-described last of a dying breed of conservative Democrats (insert archival clay animation of a dying Tyrannosaurus Rex here), is the closest to the film’s narrator, followed by Arthur Brooks, president of the American Enterprise Institute.

President Obama and liberals in the government seem bent on pushing America down the road to a socialist democracy, Morris and other narrators explain. “By any measure,” Morris said, “Europeans are less happy, enjoy their work less, commit suicide more and drink more than people in the United States do.” In addition, “… economically Europe is exactly the same way the United States was in 1989.” So why would we want to go down that path?

We don’t. And that’s what Brooks points out, when he says that our Tea Party movement is “protesting the very thing that the Greeks are demanding” when they protest against the government cutting their exorbitant pensions. (See more on that here, in his lecture at the Family Research Council last week.)

Ann Coulter gets in on the action too, voicing a truth that has confounded President Obama (a flustered President tells one crowd in the film that he is surprised people aren’t thanking him for the entitlement spending) since taking power: Tea Partiers don’t want to get something for “free.” Coulter explains that Tea Partiers are crying, “Even if I get something [from the entitlement spending] we have got to stop the spending.”

Over a dozen national leaders voice their observations, a tribute to the thoroughness of the film’s topical coverage: Newt Gingrich, Fred Barnes and Lou Dobbs to name a few.

Great classic footage compares the U.S. government to the Roman Senate, and images show the illustrious Roman army moving against free peoples, suggesting a similar assault on U.S. freedoms by liberals in power.

A mournful orchestra, organs and piano melodies further color the film, adding illustrious battle hymns at key parts, stirring up the rage within us all, that each of us has felt at some point over the last two years.

In the end the film ties today’s fight for liberty and free enterprise to the battles America fought through the centuries for freedom: Concord and Lexington, Gettysburg, Normandy. And once again Americans must fight. But this time it’s with the ballot, not the bullet. As always however, this fight for freedom “is America’s fight,” Morris points out.

And it’s a fight we can win.

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