10 great dark comedies

Dark comedies are a nasty business.

Not only do they deal with subjects that many people find offensive, but filmmakers who attempt them often find themselves caught between two frequently conflicting forces: the lure of the box-office and the lure of cult status. One can see that push and pull in “School for Scoundrels,” starring Billy Bob Thornton and Jon “Napoleon Dynamite” Heder, which is a remake of a 1960 British comedy.

Staying true to the dark nature of a film’s soul can often mean box-office death; such films often alienate more sensitive audience members. On the other hand, dark comedies that drift away from their true nature find themselves wallowing in the abyss that is mediocre, uninspired comedy. They alienate their core audience while leaving the general audience unimpressed. Thus, it is a rare dark comedy that emerges as a complete success.

The difference between a comedy with dark humor and a true dark comedy can sometimes be nebulous. There are many comedies with bits of dark humor, but far fewer true dark comedies. When done right, the dark comedy is one of cinema’s most rewarding experiences. Here are the 10 best ever made.

10. Serial Mom (1994)
Dark premise: Serial killing is funny.
Turning convention on its head once again, director John (“Hairspray”) Waters takes the wholesome, perfect American mother and makes her a serial killer. In every way, Beverly Sutphin (Kathleen Turner) is the perfect mother. She’s caring, loving, and has raised two wonderful children. It just happens that she’s also a serial killer. From this premise, Waters creates one of his most subversive yet accessible films. “Serial Mom” lies somewhere between David Lynch’s “Blue Velvet” and the John Belushi film “Neighbors”.
Darkest/funniest/most twisted Moment: One of Beverly’s neighbors (Mink Stole) has been receiving disturbing crank calls. When we finally found out that Beverly is the culprit, her sweet demeanor blown, the ensuing call devolves into a spasm of profanity and hilarity.
Best line: “Chip, you know how I hate the brown word.”

9. Raising Arizona (1987)
Dark premise: Kidnapping babies is funny.
“Raising Arizona” is a mix of slapstick and dark humor that continues the Coens brothers’ penchant for putting simple people in complex situations. This is the story of a childless couple, ex-con H.I. (Nicolas Cage) and ex-police officer Edwina “Ed” McDunnough (Holley Hunter) who decide to steal one baby from a group of quintuplets since, as Ed concludes, the family has more than they can handle.
Darkest/funniest/most twisted Moment: The scene when escaped convicts Gale and Evelle (John Goodman, William Forsythe) realize they’ve left the baby on top of the car after robbing the bank is about as good a confluence of dark comedy as there is.
Best line: (old man in bank during a robbery) “Now, what’s it gonna be young feller? You want I should freeze or get down on the ground? ‘Cause if’n I freeze, I can’t rightly drop. And if’n I drop, I’m gonna be in motion.”

8. M*A*S*H (1970)
Dark premise: War is funny.
“M*A*S*H” is largely a comedy of manners, throwing a trio of unorthodox doctors into a situation that should beat them down. Instead, they thrive. Set during the Korean War, the film instead becomes a commentary on Vietnam. “Hawkeye” Pierce (Donald Sutherland), “Trapper John” MacIntyre (Elliot Gould), and “Duke” Forrest (Tom Skerritt) essentially make the war theirs by drinking, gambling and cavorting whenever possible. Director Robert Altman captures the essential cultural conflicts of an era.
Darkest/funniest/most twisted moment: When the judgemental Major Frank Burns (Robert Duvall) and Major Margaret O’Houlihan (Sally Kellerman) end up in bed together, the hypocrisy is not lost on anyone, prompting Hawkeye and his mates to take full advantage, sending him out of the field hospital in a straight jacket after he cracks under the ridicule.
Best line: “Oh, Frank, my lips are hot. Kiss my hot lips.”

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