When Stan Marsh and his friends go see an R-rated movie, they start cursing and their parents think that Canada is to blame.When Stan Marsh and his friends go see an R-rated movie, they start cursing and their parents think that Canada is to blame.When Stan Marsh and his friends go see an R-rated movie, they start cursing and their parents think that Canada is to blame.
- Director
- Writers
- Trey Parker(television series South Park)
- Matt Stone(television series South Park)
- Pam Brady
- Stars
- Trey Parker(voice)
- Matt Stone(voice)
- Mary Kay Bergman(voice)
Top credits
- Director
- Writers
- Trey Parker(television series South Park)
- Matt Stone(television series South Park)
- Pam Brady
- Stars
- Trey Parker(voice)
- Matt Stone(voice)
- Mary Kay Bergman(voice)
- Nominated for 1 Oscar
- 7 wins & 11 nominations total
Videos4
Isaac Hayes
- Chefas Chef
- (voice)
Jesse Brant Howell
- Ike Broflovskias Ike Broflovski
- (voice)
- (as Jesse Howell)
Franchesca Clifford
- Ike Broflovskias Ike Broflovski
- (voice)
- (as Francesca Clifford)
Toddy Walters
- Winona Ryderas Winona Ryder
- (voice)
- (as Toddy E. Walters)
- Director
- Writers
- Trey Parker(television series South Park)
- Matt Stone(television series South Park)
- Pam Brady
- All cast & crew
- See more cast details at IMDbPro
Storyline
When four boys in South Park Stan Marsh, Kyle and his stepbrother Ike Broflovski, Eric Cartman, and Kenny McCormick sees an R-rated movie featuring Canadians "Terrance & Phillip: Asses of Fire", they are pronounced "corrupted", and Kyle's mom Sheila with the rest of the parents pressure the United States to wage war against Canada for World War 3! It's all up to Stan, Kyle and Cartman to save Terrence and Phillip before Satan and his lover Saddam Hussein from Hell rules the world and it'll be the end of the whole world. —Anthony Pereyra {hypersonic91@yahoo.com}
- Taglines
- Warning: This movie will warp your fragile little minds.
- Genres
- Certificate
- 15
- Parents guide
Did you know
- TriviaIn the Guinness World Records 2001, this film was said to have the most profanity used in an animated film. The book cited a total of 399 swear words, including 146 uses of the word "fuck," along with 199 offensive gestures and 221 acts of violence.
- GoofsWhen the switch is thrown to electrocute Terrence and Phillip, it's pulled downwards. A few shots later, we see Cartman jump in to save T and P by turning the switch off. He also pulls the switch downwards instead of upwards.
- Quotes
Mr. Garrison: ...I'm Sorry Wendy, but I don't trust anything that bleeds for five days and doesn't die.
- Crazy creditsSaddam Hussein ... himself
- Alternate versionsThe non-US/Canada versions of the film are distributed by Warner Bros. Pictures and replace the Paramount logo with the WB logo. This ruins the gag as the mountain in the Paramount logo morphs into a hill in South Park.
- SoundtracksMountain Town
by Trey Parker and Marc Shaiman
Performed by Trey Parker, Matt Stone and Mary Kay Bergman
Produced by Trey Parker, Matt Stone and Marc Shaiman
Top review
A truly subversive movie
I was not a fan of South Park before I saw BL&U, nor was I a fan of movie musicals. Well, I'm still not a fan of musicals, but I'm a fan of *this* musical, and am grateful to Parker and Stone for demonstrating that it's still possible to make a great movie on one's own terms.
For this movie, unlike the usual feature-length adaptation of a pop culture phenomenon, not only lives up to its pedigree, it wildly exceeds it. Yes, the movie does recycle many of the show's jokes, but it does so in new yet relevant contexts that keep the material funny if you are familiar with the South Park world. If you aren't familiar with that world (as I wasn't before seeing the movie), the gags are simultaneously accessible yet often subtle.
Subtle? Yes, many of the gags are. Indeed, one of the pleasures of owning a copy of the movie is having the ability to review the movie, in slo-mo if necessary, and discover throwaway sight gags that one has missed in the delirium of watching this anarchic satire the first time through. (And if you have the DVD, you can add subtitles to catch many of the songs' often elusive lyrics.)
Then there's the music. What is it about movie musicals that attracts great satiric minds? Not since Pynchon's "Gravity's Rainbow" has a work of art so subversively exploited the conventions of the movie musical as South Park. From the droll opening strains of Mountain Town, to the Disneyesque "Up There," to the Les Miserables spoof, "La Resistance," South Park simultaneously sends up the genre while paying homage to it, and still finds room to use the songs to score delicious points against its myriad targets.
One last thing: this movie is not cynical. Beneath the scatological humor, the cartoon violence, the scathing portrayals of Wynona Ryder et al, and the backdrop of adult xenophobia, sexual repression and political opportunism, is a sensibility that exalts childhood as an island of honesty and idealism, if also of id-like impulse and frequent selfishness. In this they share space on the shelf of great satires with "Candide," "Gulliver's Travels," "Tom Sawyer" and especially "Huckleberry Finn"--classics that, like BL&U, also exposed the hypocrisies of the adult world "through the eyes of a child."
Elvis Costello once sang, "I want to bite the hand that feeds me/I want to bite that hand so badly/I want to make them wish they'd never met me." That BLU was shut out at the Academy Awards (having only garnered a nomination for the relatively tame "Blame Canada", which lost, appropriately enough, to the execrable Phil Collins) only vindicates the film's take-no-prisoners send-up of nearly everything that annoys in this suffociatingly focus-group-tested, PC-policed, cynically sentimental, violence-ridden, love-starved modern world. See this movie, and see the persistence of hope and possibility sparkling like a diamond amid the pop culture detritus of a quiet little red-necked, white-trash, strait-laced, mesuggeneh, US mountain town.
For this movie, unlike the usual feature-length adaptation of a pop culture phenomenon, not only lives up to its pedigree, it wildly exceeds it. Yes, the movie does recycle many of the show's jokes, but it does so in new yet relevant contexts that keep the material funny if you are familiar with the South Park world. If you aren't familiar with that world (as I wasn't before seeing the movie), the gags are simultaneously accessible yet often subtle.
Subtle? Yes, many of the gags are. Indeed, one of the pleasures of owning a copy of the movie is having the ability to review the movie, in slo-mo if necessary, and discover throwaway sight gags that one has missed in the delirium of watching this anarchic satire the first time through. (And if you have the DVD, you can add subtitles to catch many of the songs' often elusive lyrics.)
Then there's the music. What is it about movie musicals that attracts great satiric minds? Not since Pynchon's "Gravity's Rainbow" has a work of art so subversively exploited the conventions of the movie musical as South Park. From the droll opening strains of Mountain Town, to the Disneyesque "Up There," to the Les Miserables spoof, "La Resistance," South Park simultaneously sends up the genre while paying homage to it, and still finds room to use the songs to score delicious points against its myriad targets.
One last thing: this movie is not cynical. Beneath the scatological humor, the cartoon violence, the scathing portrayals of Wynona Ryder et al, and the backdrop of adult xenophobia, sexual repression and political opportunism, is a sensibility that exalts childhood as an island of honesty and idealism, if also of id-like impulse and frequent selfishness. In this they share space on the shelf of great satires with "Candide," "Gulliver's Travels," "Tom Sawyer" and especially "Huckleberry Finn"--classics that, like BL&U, also exposed the hypocrisies of the adult world "through the eyes of a child."
Elvis Costello once sang, "I want to bite the hand that feeds me/I want to bite that hand so badly/I want to make them wish they'd never met me." That BLU was shut out at the Academy Awards (having only garnered a nomination for the relatively tame "Blame Canada", which lost, appropriately enough, to the execrable Phil Collins) only vindicates the film's take-no-prisoners send-up of nearly everything that annoys in this suffociatingly focus-group-tested, PC-policed, cynically sentimental, violence-ridden, love-starved modern world. See this movie, and see the persistence of hope and possibility sparkling like a diamond amid the pop culture detritus of a quiet little red-necked, white-trash, strait-laced, mesuggeneh, US mountain town.
helpful•18323
- Tresy
- Mar 28, 2000
Details
- Release date
- Country of origin
- Language
- Also known as
- South Park Saves the World
- Production companies
- See more company credits at IMDbPro
Box office
- Budget
- $21,000,000 (estimated)
- Gross US & Canada
- $52,037,603
- Opening weekend US & Canada
- $11,335,889
- Jul 4, 1999
- Gross worldwide
- $83,137,603
- Runtime1 hour 21 minutes
- Color
- Sound mix
- Aspect ratio
- 1.85 : 1
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What is the Japanese language plot outline for South Park: Bigger, Longer & Uncut (1999)?
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