Other than the awful Blue Collar comedy crew you don’t see a whole lot of humor come from the political right. The tasteless, wrongheaded but consistently entertaining “An American Carol” is David Zucker’s effort to show the satire sword can swing both ways.

Never mind that the movie is about as politically relevant as Zucker’s “Airplane!”

Taking a reverse Colbert approach, Zucker attacks Michael Moore by exaggerating his political stances and exposing logical fallacies. Lead Kevin P. Farley, as rotund, ballcap-wearing documentarian Michael Malone, is a major reason the slipshod film is as entertaining as it is. The unheralded brother of departed comic legend Chris Farley, Kevin does the family name proud by executing underplayed Moore mimicry worthy of “Saturday Night Live.”

Never mind that the movie’s political messages are as pinheaded and weak as those it attacks. Zucker is in fine form with his kitchen sink approach to comedy, and he slaps enough gags on the screen that even though only about a third stick, there’s hardly a five-minute stretch where you’re not chuckling.

The film seems intent to offend, complete with such right-wing fanatic fantasies as general George S. Patton gunning down a courtroom full of ACLU lawyer zombies and that Bold, Fresh Piece of Humanity Bill O’Reilly slapping Malone around. Zucker also pokes fun at suicide bombers (the training video is a howler), ex-hippie college professors and, most cheaply, masculine lesbians.

Zucker steals the plot of Charles Dickens’ “A Christmas Carol,” with Malone in the Scrooge position. The story unfolds at an Independence Day picnic table, as intermittent narrator Leslie Nielsen spins a yarn to some kids. Malone, a successful doc-maker who longs for the prestige of feature film, unknowingly accepts jihadist financing for his epic, America-bashing screenplay. Malone works to get the film off the ground while spearheading an effort to do away with the Fourth of July.

One night while watching footage of his hero John F. Kennedy (Chriss Anglin), who walks out of the TV, insists he’d support the “War on Terror” and tells Malone he’ll be visited by three ghosts who will re-instill Malone’s patriotism.

Kelsey Grammer gets the bulk of the screentime as Patton, escorting Malone through a historical house of horrors. One of the better gags involves Malone’s reaction to Patton’s assurance that no one can see them.

Malone witnesses Neville Chamberlain’s appeasement of Hitler and glimpses the slave plantation Malone would own in an alternate reality in which Lincoln didn’t wage the Civil War. Jon Voight pops up briefly as George Washington, and country star Trace Adkins plays himself as well as the Angel of Death.

The reason the comedy works is Zucker’s ability to step away from his serious agenda for some sparkling throwaway gags, as well as his willingness to give Malone a few opportunities to skewer the right. There are some clever zingers that ridicule country music and NASCAR. Cutaways to Nielsen and the children are disarming, especially when one of the boys lambastes the corniness of Nielsen’s ultrapatriotic tale with a dismissive wrist motion.

There’s plenty of flat-out ignorance on display, including a musical number that declares poor and minorities are given extra credit in college classes, but taken for what it’s worth, “An American Carol” is a breezy diversion. And hopefully a sign of things to come. The right should follow Zucker’s lead engage its liberal opposition with humor rather than the crass protests and attempts at bans usually flung at Moore’s films. Three stars.