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80Wickedly funny.
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75Griffin is quick, smart and funny.
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75In an age when light-and-easy racial farces have become mainstream hits, he remains a tough-love comedian.
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70We do glimpse the dynamic interplay between rising comedian Eddie Griffin's hilarious obsessions and the loving, screwed-up people who made him what he is.
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70Some may be offended by Eddie Griffin's blunt language, yet they would find it hard to deny that he tells it like it is.
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70There is a blueprint here for what should be the next wave of comedy-concert movies, but the filmmaking team has only used part of it.
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70Griffin's stand-up material is consistently upstaged by sequences of him interacting with old friends and family members.
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67That Griffin tells some of the most intolerant jokes since Andrew Dice Clay should hardly obscure his talent, even if it does tarnish it.
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His routine about the differences between cat lovers and dog lovers demonstrates how perceptive and just flat-out funny he can be when he's not trying so hard to shock us.
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63This film highlights some of the best, and raunchiest, of his humor.
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60It is clear from the film's onset that Griffin is striking a chord with his audience: They love him and, in return, he relishes their laughter.
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50Griffin may well get there, but he's not there yet.
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50The whole nutty crew finds it rollicking good fun to see themselves lampooned. But there is an unmistakable sorrow behind the humor.
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Unfortunately, we've seen this before.
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50More vulgar than funny.
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50Gallo makes some fatal mistakes in his direction. As Griffin talks, he adds sound effects that are distracting and annoying. It's actually an insult to the comic -- as if his jokes aren't clever enough on their own.
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50Many will find Griffin profane, sexist and decidedly offensive. Many more will find his raunchy insights inspired, his body language hilarious and his gift for mimicry and caricature worth the entire show.
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50His veiled misogyny and totally unguarded homophobia are unconvincing, and when he resorts to chestnuts like comparing how black and white people walk, he comes off as a Pryor caricature, rather than as a devotee.
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50If its star were more consistently funny, it might have worked, but the film opens with a string of dreadful Sept. 11 gags and takes a while to recover.
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40If Griffin were a jowly Southern redneck, his mean-spirited rants would make him a pariah.
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40The attempt to draw certain connections between Griffin's material and its autobiographical origins feels slapped together, shortchanging both aspects of the film.
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38For a movie that's trumpeted as providing a probing look beyond the comic's onstage patter, there's an awful lot of onstage patter -- and what nasty, hateful stuff it is.
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30The few gags that hit their mark only serve to point up how flaccid the rest of his material is, and that spells doom for a comic, no matter how much his hometown crowd cheers him on.
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20It's nauseating, unfunny stuff, unmitigated by the revelation that Griffin's mom physically abused him.