There’s already a trailer out for David Zucker’s anti-Michael Moore comedy satire, opening in theaters October 3rd.

2:05 video

Hat tip to Dirty Harry’s Place.

The most striking image is just a little over a second long, the blast of an IED beginning to impact two soldiers in American battle dress.

Campaign strategists of the democrat party are clearly the kind of people who see nothing wrong in using the image of a successful enemy attack on US forces for partisan political advantage.

It would never occur to these people that the image (taken from Michael Moore’s Fahrenheit 9/11 (2004), which can be found around 1:35 into the trailer*) they are using is exploiting the pain and suffering (and possibly the deaths) of their fellow citizens incurred in the course of defending them.

• Hat tip to LGF Commenter MacGregor

This precise image could just as easily appear in an al Qaeda propaganda video accompanied by howls of Allahu Akbar!

0: 35 video

The cowards will certainly pull this one when the storm of outrage breaks over their heads, so here’s a link to a copy on YouTube.

Maybe it’s time to change the symbol of the democrat party from the jackass to something even more appropriate:

The London Times reports that some leftwing filmmakers began making a documentary as a tribute to Moore, but unhappily discovered the real character of their idol and his work. They wound up pursuing Moore in precisely the manner Moore pursued the CEO of General Motors.

THE hunter has become the hunted. Michael Moore, the celebrated left-wing film-maker, has become the unwilling subject of a new documentary that raises damaging questions about the credibility of his work.

The director and star of successful documentaries such as Roger & Me, Bowling for Columbine and Fahrenheit 9/11, Moore has repeatedly been accused by his right-wing enemies of distorting or manipulating the material in his films. On his website he dismisses his critics as “wacko attackos”.

Yet the latest assault on Moore’s film-making techniques has come from an unexpected quarter. In Manufacturing Dissent, a documentary to be shown for the first time at a Texas film festival on Saturday, a pair of left-wing Canadian film-makers take Moore to task for what they describe as a disturbing pattern of fact-fudging and misrepresentation.

“When we started this project we hoped to have done a documentary that celebrated Michael Moore. We were admirers and fans,” said Debbie Melnyk, who made the film with her husband, Rick Caine. “Then we found out certain facts about his documentaries that we hadn’t known before. We ended up very disappointed and disillusioned.”

Melnyk and Caine are best known for their previous documentary Citizen Black, about Conrad Black, the Canadian-born former proprietor of The Daily Telegraph. Last week both of them acknowledged an important debt to Moore for popularising the documentary genre.

Yet when Caine and Melnyk began to follow him as part of their own documentary, their efforts to interview him met with the same kind of obstruction, denial and, ultimately, physical ejection that Moore had suffered when he tried to track down Roger Smith, the former chief executive of General Motors, for his first film, Roger & Me.

Read the whole thing.

Even leftists, if they look closely, can tell that Michael Moore is a liar and a fraud.