South Park: Bigger, Longer & Uncut (1999)

The film is surprisingly agreeable and provides plenty of comic moments that suggest the franchise could work in movie form. The clever plot delivers sideswipes at censorship and other targets, along with perky musical numbers, though some scatological subplots drag on too long.

Ebert finds the film a vicious social satire that delivers the year's sharpest political commentary through its obscene animated comedy, though he is often offended by its content. He singles out the bedroom scenes between Satan and Saddam Hussein as particularly noteworthy.

Anderson describes the film as gleefully vulgar and eagerly offensive, finding it tough not to enjoy despite its flaws. He singles out its cleverness in skewering intolerance and the movie morality debate, with the kids saving the world from Saddam Hussein.

The critic praises the film's timely satire on censorship, politics, media, xenophobia and more, calling it tighter and more focused than the TV series and a strong musical. A minor complaint is made about one negligible character.

The film is the most impressively vicious and nasty-minded film satire of the year, capitalizing on its freedom from TV censorship with 140 F-words and clever self-referential story ideas. It strains after an hour with flailing sight gags but its central message about blaming cultural products for social ills shines through.

Holden calls the film very funny and extremely obscene, praising its rock-bottom third-grade humor clashing with adult sanctimony as the source of many laughs. He highlights its Disney-style musical numbers that parody everything from Rodgers and Hammerstein to Les Misérables.

The critic praises the first half-hour's low-aiming but effective below-the-belt satire on the censorship brigade and various targets. It notes the film cannot sustain its outrageous energy for the full runtime.

Harvey praises the film for bringing the objectionable tykes to the screen with considerable aplomb and clever diversion. He singles out the expanded musical interludes, from parodies to fully orchestrated rude ditties, as a highlight.

The critic praises Trey Parker's irreverent dismantling of institutional pomposity and political correctness through sharp, profane dialogue and deceptively simple animation that outdoes The Simpsons. They single out the satirical plot of kids sparking a war with Canada over a forbidden movie and the film's wicked one-liners that mock adults while celebrating free speech and irreverence.