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‘Saturday Night Live’ movies: Good, bad and ugly

Ugly: While the"SNL” “MacGruber” sketches worked as two-minute pieces, forcing the audience to bear 90 minutes of bad haircuts and 1980s rock and pop proved to be too much. The film grossed only $4 million its opening weekend and had that the fourth-largest third-week theater drop in cinema history. (Greg Peters / Rogue Pictures)
‘That’s My Boy’
Bad: Adam Sandler and former “SNL” cohort Andy Samberg’s attempt to bring back Sandler’s ‘90s boorish comedy feel flat both in reviews and at the box office.  (AP Photo / Columbia Pictures - Sony)
‘The Blues Brothers’
GOOD: Director John Landis’ 1980 comedy was the first time “SNL” characters broke out of the TV format. In this case, bigger was always, always better. As Jake and Elwood Blues, Dan Aykroyd and John Belushi participated in some of the biggest car chases the city of Chicago had ever seen. And we’re all the better for it. (Universal Studios / Associated Press)
‘A Night at the Roxbury’
BAD: If this movie had been made in the ‘70s, it would have starred Dan Aykroyd and Steve Martin and been about the Festrunk Brothers. Instead, it was made in the ‘90s, starred Will Ferrell and Chris Kattan as the Batubi Brothers and was universally panned by critics. (Mary Ellen Matthews / Paramount Pictures)
‘Stuart Saves His Family’
UGLY: If anyone wonders why Al Franken gave up show business to get into politics, they need only look at this limp comedy from 1995. Franken later wrote about his depression following the movie’s failure at the box office. (Melissa Moseley)
‘Office Space’
GOOD: A lot of people forget that Mike Judge’s spot-on satire of cubicle life began as a series of animated shorts on “SNL” with Stephen Root providing the voice of Milton, the lowliest of the low in office drones. Milton made the leap to the big screen but became a supporting character. Audiences didn’t seem to mind. Though it didn’t do well in its theatrical release, it’s had a long life on DVD. (Van Redin / 20th Century Fox)
‘The Ladies Man’
BAD: Tim Meadows’ dating advice specialist was funny in small doses on “SNL,” but he suffered the same fate as so many of his castmates when the character transitioned to the big screen. Heavily panned, the film bombed at the box office. (Marni Grossman / Paramount Pictures)
‘It’s Pat’
UGLY: Julia Sweeney’s androgynous character was irritating enough on TV, so when she/he/it came to the big screen, the experience was nightmarish. Critics balked, and audiences stayed away in droves. (Kelvin Jones / Paramount Pictures)
‘Wayne’s World’
GOOD: Party time! Excellent! Woo-woo-woooooo! Audiences hurled -- not! -- when Mike Myers and Dana Carvey made the leap from Wayne Campbell’s basement to the big screen in 1992. (Suzanne Tenner)
BAD: Molly Shannon’s never-been-kissed Catholic schoolgirl was an armpit-smelling hit on TV, but Mary Katherine Gallagher stumbled literally and figuratively in the 1999 movie. (Kerry Hayes / Paramount Pictures)
‘Blues Brothers 2000'
UGLY: Dan Aykroyd, left, and John Goodman, second from left, starred in the 1998 sequel “Blues Brothers 2000.” But without John Belushi, and with essentially the same plot and jokes as the classic, the film itself sang the blues. (George Kraychyk)
‘Saturday Night’
GOOD: James Franco, left, directed the documentary “Saturday Night,” which got good buzz when it premiered at the Tribeca Film Festival in early May. The film takes an intimate look at the making of an episode of “Saturday Night Live.” Above: Franco and “SNL’s” Will Forte talk about the film at Tribeca(Neilson Barnard / Getty Images for Tribeca Film Festival)
‘Wayne’s World 2'
BAD: Mike Myers, left, and Dana Carvey returned a year after “Wayne’s World” with a star-studded sequel -- think Christopher Walken, Heather Locklear, Drew Barrymore, Harry Shearer, Jay Leno, Charlton Heston, etc. -- but without the schwing of the original. (Elliott Marks)
UGLY: Sixteen years after the skit premiered on “Saturday Night Live,” the “Coneheads” movie landed, with Michelle Burke, left (replacing Laraine Newman as Connie), and parental units Dan Aykroyd and Jane Curtin. Audiences did not consume it in mass quantities. (Murray Close / Paramount Pictures)