South Park: Bigger, Longer & Uncut (1999)

The critic praises the film's timely satire of US censorship hysteria, politicians, media and xenophobia, noting its taut structure compared to the TV series. They single out the musical numbers and overall comedic execution as a high point.

The critic hails the film as a radical, insolent and breathtakingly offensive speedboat of a movie that mocks the R rating system and questions what constitutes a 'kid' film. They single out its satirical handling of profanity, adult hypocrisy and the US-Canada 'war' plot as making it the most truly radical American movie in years.

The review calls the film very funny and extremely obscene, praising its anti-Disney musical numbers that skewer everything from Rodgers and Hammerstein to inspirational ballads while making a pointed statement about ratings hypocrisy.

The critic calls the film an inspired Oscar-nominated version that pushes Parker and Stone's talents to sublime new heights. They single out its scabrously funny mockery of puritanical pundits who equate vulgar language with immorality, recommending it highly to fans and non-converts alike.

The critic finds the film surprisingly agreeable and fun in its feature-length form, praising its choice comic moments, satirical sideswipes at censorship and parental control, and perky musical numbers. However, it suffers from hit-and-miss quality with some subplots dragged out too long.

The critic describes the film as gleefully vulgar and eagerly offensive yet smart and timely in its satire of intolerance, the ratings system and cultural sanctimony. He singles out the torrent of vulgarity and the V-chip subplot for their pointed humor.

The film is the most impressively vicious and nasty-minded film satire of the year, capitalising on its freedom from broadcast censorship with a flood of obscenities and self-referential story ideas. The central message about blaming cultural products for societal ills shines through, though the film shows signs of strain after the first hour.

The film delivers a sharp, outrageous satirical assault on censorship and other targets in its first half, but struggles to maintain momentum over its full runtime.

The review finds the film delivers with considerable aplomb and clever diversion despite its juvenile content, highlighting the expanded musical interludes and satirical jabs at celebrities, the ratings board and xenophobia as particularly inspired.

The critic finds the film a vicious social satire on obscenity, ratings hypocrisy and politics that delivers shocking laughs but also offends and runs out of steam. He singles out the bedroom scenes between Satan and Saddam Hussein for their audacity.

The film is funny and surprisingly well structured, holding up better than most episodes from its era. The critic singles out the craft of the musical parody, particularly the overlapping songs in the West Side Story homage.

The critic praises Trey Parker's sharp, politically incorrect satire that twists institutional humbug and delivers wicked one-liners while making adults look foolish. The songs and deceptively simple animation are highlighted as standout elements that outdo The Simpsons in irreverence.

The film captures American culture's tendency to blame external scapegoats for complex problems rather than looking inward. The critic praises its satirical escalation of moral panics into absurdity while highlighting the enduring relevance of its message about personal responsibility.