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Fueling his political rhetoric with 9/11 and the lives of heroes is nothing new for Michael Moore. On September 12, 2001, he implied that had the attacks occurred in “red” states and fewer non-Bush voters were the collateral damage, they would have been more understandable in his mind. His latest only proves there is no low he will not sink to while promoting his half-truthed “documentaries”:

Filmmaker Michael Moore’s production company took ailing Ground Zero responders to Cuba in a stunt aimed at showing that the U.S. health-care system is inferior to Fidel Castro’s socialized medicine, according to several sources with knowledge of the trip. The trip was to be filmed as part of the controversial director’s latest documentary, “Sicko,” an attack on American drug companies and HMOs that Moore hopes to debut at the Cannes Film Festival next month.

Two years in the making, the flick also takes aim at the medical care being provided to people who worked on the toxic World Trade Center debris pile, according to several 9/11 workers approached by Moore’s producers. But the sick sojourn, which some say uses ill 9/11 workers as pawns, has angered many in the responder community.

“He’s using people that are in a bad situation and that’s wrong, that’s morally wrong,” railed Jeff Endean, a former SWAT commander from Morris County, N.J., who spent a month at Ground Zero and suffers from respiratory problems.
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[An] ill worker who said he was willing to take the trip ended up being stiffed by Moore. Michael McCormack, 48, a disabled medic who found an American flag at Ground Zero that once flew atop the Twin Towers, was all set to go to. The film crew contacted him by phone and took him by limo from his Ridge, L.I., home to Manhattan for an on-camera interview. “What he [Moore] wanted to do is shove it up George W’s rear end that 9/11 heroes had to go to a communist country to get adequate health care,” said McCormack, who suffers from chronic respiratory illness.

But McCormack said he was abandoned by Moore.

At a March fund-raiser for another 9/11 responder in New Jersey, McCormack learned Moore had gone to Cuba without him. “It’s the ultimate betrayal,” he said. “You’re promised that you’re going to be taken care of and then you find out you’re not. He’s trying to profiteer off of our suffering.”

Moore’s publicist did not return calls from The Post. But McCormack played a tape for The Post of a telephone conversation between himself and a Moore producer. The woman is heard apologizing for not taking McCormack, while saying the production company was not offering anyone guarantees of a cure. “Even for the people that we did bring down to Cuba, we said we can promise that you will be evaluated, that you will get looked at,” said the woman. “We can’t promise that you will get fixed.”

Uwe Boll crawled out of the same cesspool as Moore and is just another bloodsucker in search of a dime:

A film expected to hit theaters in the fall shows an airliner crashing into a World Trade Center-like tower in a horrific scene right out of New Yorkers’ nightmares. The film, “Postal,” would be the first mass-marketed film to mock the tragedy of 9/11. U.S. distributor Freestyle Releasing has confirmed it’s negotiating the national cinema release of the film, which is currently unrated. Based on the ultra-violent video game of the same name, a trailer featuring the plane crash is already on YouTube.com, and critics are fuming.

“How can you parody an act of mass murder?” fumed Debra Burlingame, whose brother Charles was the pilot of American Airlines Flight 77, which was hijacked and crashed into the Pentagon on 9/11. “Eleven-hundred families got no scrap of remains. Does that mean nothing to him? Is there any line this man wouldn’t cross?”

Pariah German film director Uwe Boll, who revels in his crass reputation in the industry, is unapologetic. “It’s harsh, but in the context of the movie it definitely makes sense,” Boll says of the scene showing a plane heading straight for what appears to be a World Trade Center tower.
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“It’s a sad commentary on how little time it took to get from the universal condemnation of a terrorist attack on innocent people to a filmmaker’s attack on the memory of innocent people in the form of a parody,” Burlingame said.

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