Over the past 15 years, we have seen a plethora of Hollywood projects showcasing heroic titular characters throughout their prominent American trials and tribulations. Since the 9/11 attacks, American cinema has had a focus on showing American strength, whether it be in “United 93,” “Zero Dark Thirty,” or “13 Hours.”

These movies are a modern brand of American propaganda, and whether or not you as a viewer subscribe to the onscreen nationalism, you cannot deny the massive weight these gigantic projects hold on contemporary audiences.

The latest of this genre is “Patriots Day,” a motion picture directed by Peter Berg that depicts the events and aftermath of the Boston Marathon bombing in 2013. Last week, CBS films released their theatrical trailer for the film starring Mark Wahlberg, John Goodman and J.K. Simmons.

Turn your attention to the glaringly disrespectful timing of “Patriots Day.” The Boston Marathon bombing happened three years ago. The exigence is simply not there; the fateful events at the marathon are still a fresh wound.

No doubt the narrative will be thrilling, but the event may be too familiar with audiences for much exposition — the 2013 Boston Marathon was covered extensively by press and media outlets. While the onscreen talent will surely prove to be up to the task, audiences should keep in mind that producers have found a gold mine in national tragedies.

This movie will surely draw tears, make you think about your country, and ultimately pay homage to the old red white and blue. While “Patriots Day” will undoubtedly be a box office smash, its canned meanings are reminiscent of early 20th century propagandist cinema.

Authoritarian countries like Russia and Germany established state-controlled pop culture industries in order to promote support for the government. In Italy, Federico Fellini worked on films funded by the Italian Fascist Party in the 1940s. His early films reek of Italian super-patriotism. The government used cinema as propaganda: a way to change public perception, essentially brainwashing people to think and act solely for the purpose of the state.

The tactics Hollywood uses to create films like “Patriots Day” may not be entirely similar to Italian fascist cinema, but there is an undeniable “Go USA” mindset that drives these types of movies.

Hollywood needs to stop consecrating these events. I know that people love to sympathize, and there’s a lot of money that goes in and comes out of making people cry. But big budget movies like “Patriots Day” don’t restore hope, they pick off scabs, ultimately casing in on the emotionally-invested American public.

It doesn’t help that Wahlberg, who consistently sports a Red Sox hat and that Boston accent throughout his films, has used his likeability and sports bar knowledge to establish himself as a household name. But I wonder if Mark Wahlberg has ever considered that there are current events that take place outside of the Massachusetts Bay region.

So where does the Marky-Mark persona come into play? Think about the onscreen value Mark Wahlberg has to a Boston audience. Think about how much fan service is packed into “Patriots Day.” Surely, Patriots Day will regularly reference a specific crowd, not unlike “The Fighter.”

Do I think “Patriots Day” is solely meant for Boston audiences? No, but I could see the subject matter championing a specific audience, potentially missing a non-Boston crowd.

“Patriots Day” is set for a holiday release on Dec. 21, 2016. Hopefully it proves my doubts wrong.

Published on October 10, 2016 at 9:22 pm