10 Cult Comedy Movies Only Real Ones Understand

Cult comedies are usually enjoyed by a specific group of people—if a comedy becomes widely popular, it generally loses its ‘cult’ status. However, some films considered cult classics can still be appreciated by newcomers. For example, a movie like John Waters’ *Cry Baby* has quirky elements, but is accessible enough for a first-time viewer to enjoy. Other cult comedies, though, will likely always remain special and only fully understood by a dedicated few who put in the effort to appreciate them.

Here are 10 comedies that still appeal mostly to a dedicated fanbase. You often need to ‘get’ the inside jokes or understand the references to really enjoy them.

‘Terminal USA’ (1994)

A New York family of Asian American descent is facing multiple crises. Katsumi is recovering from a gunshot wound after a drug deal gone wrong, hiding with his girlfriend and struggling with addiction. Holly is terrified someone will release a compromising sex tape and desperately wants connection. Their son, Marvin, has unusual interests and keeps to himself. The father recently lost his job due to racial discrimination and is preparing for the worst, while the mother longs for intimacy. Meanwhile, the family’s grandfather is nearing the end of his life, fading away quietly.

“Sometimes I Think the Only Way Out Is To Explode.”

Jon Moritsugu’s film, *Terminal USA*, tackles the Asian American experience with a sometimes harsh and stereotypical lens. However, it’s infused with his own dark, comedic style, drawing loosely from his family’s history—though exaggerated for effect. The film’s rebellious, punk-rock energy is reminiscent of independent New York cinema known for pushing boundaries. Moritsugu’s over-the-top, cartoonish style makes the film less conventional and potentially harder for wider audiences to connect with.

‘Putney Swope’ (1969)

During a board meeting, the chairman of a Madison Avenue advertising firm unexpectedly passed away. The board members decided to continue with the meeting and vote for a replacement. They all assumed the company’s head of music, Putney Swope, wouldn’t get any votes, so they strategically voted for him. However, Swope, who strongly opposed consumerism, completely shook things up. He transformed the company by creating bizarre, illogical commercials and making unconventional business decisions.

“I’m Not Going To Rock the Boat. I’m Going To Sink the Boat.”

To truly appreciate a film like Putney Swope, you need to consider its director, Robert Downey Sr., as a flawed but innovative artist, and view it within the context of its time. Beyond that, you have to accept the film’s deliberately strange and surreal style. While its treatment of race is understandably controversial, Downey Sr. was ahead of his time by addressing these issues with a critical view of consumerism. Though the film feels dated by today’s standards, it was celebrated as groundbreaking art in the 1960s. Despite its complexities, Putney Swope features some brilliantly funny lines and memorably bizarre commercials for everyday products.

‘Forbidden Zone’ (1980)

The Hercules family hides a secret: a portal in their basement leading to a bizarre, over-the-top alternate dimension ruled by King Fausto. When their daughter, Frenchy, accidentally falls through the portal, her family and friends quickly follow to rescue her. But Frenchy attracts the attention of King Fausto, who offers her protection while simultaneously making her a target of his wife, Queen Doris, who is consumed by jealousy.

“We’re Going Into the Sixth Dimension, Baby!”

Richard Elfman’s *Forbidden Zone* is a strange and unconventional movie that demands patience from viewers. Beneath its bizarre musical numbers and quirky scenes lies a satirical message. The film, created by Danny Elfman’s brother and the frontman of Oingo Boingo, has a very specific musical style and look that won’t appeal to everyone. Fans of Hervé Villechaize and Susan Tyrrell will enjoy their performances, but be warned: despite its playful surface, the movie contains potentially offensive language and stereotypes.

‘Buzzard’ (2014)

Marty Jackitansky, played by Joshua Burge, is a frustrated and pessimistic temporary office worker. He survives by pulling small cons, like stealing and returning office supplies. When these schemes are discovered and he faces legal trouble, he hides in the basement of an uncomfortable coworker. But his difficult personality quickly ruins that hiding place, forcing him to flee into the city, oddly wearing a homemade Freddy Krueger glove, as he tries to decide what to do next.

“I’m Not Stealing, I’m Surviving.”

It might feel strange admitting you need a certain kind of experience to truly get Buzzard. Director Joel Potrykus perfectly portrays a specific, often unpleasant, type of person, and the film finds dark humor in their failures. However, the movie is a bit surreal and relies on very dry humor, which won’t appeal to everyone. Despite this, Joel Potrykus is a truly original comedic voice, and Buzzard’s unusual, rebellious humor is worth checking out if you haven’t seen it.

‘Bad Boy Bubby’ (1993)

Bubby, a 35-year-old man, has spent his entire life isolated in an apartment, controlled by his abusive mother. He’s barely able to speak and terrified of the outside world because of the stories she told him. When his mother passes away, Bubby is suddenly forced to venture out and discovers a world that feels completely foreign. He struggles to understand social interactions, leading to funny, dangerous, and strange situations. Through these experiences, Bubby gradually learns how to adapt and find his place in the world.

“I Can Be God. I Can Do What God Does.”

Exploring Australian cult films—especially their unique blend of horror, exploitation, and erotica—helps explain why *Bad Boy Bubby* is such a brilliantly outrageous comedy. The film’s bold, distinctly Australian style has earned it a dedicated following, and it perfectly combines taboo themes into a darkly funny story about an unlikely hero. Because it’s a rare example of exploitation comedy that shifts from tragedy to dark humor with unsettling erotic elements, *Bad Boy Bubby* appeals to a specific audience who appreciate its unusual nature.

‘Wrong Cops’ (2013)

Quentin Dupieux’s film, *Wrong Cops*, is a comedy about a group of bad and clumsy police officers who bother people and mess up even simple investigations. The story mainly focuses on Officer Duke, who gets into trouble because of his passion for techno music and his secret business selling illegal goods.

“Write a Book About What?”

Comedies that poke fun at police officers are common today. However, in *Wrong Cops*, the film actually celebrates awful officers who get away with abusing their power and acting terribly. The movie relies heavily on absurd humor, which won’t appeal to all viewers. Director Quentin Dupieux, also known as the electronic musician Mr. Oizo, created a fast-paced, unconventional soundtrack for the film, and enjoying that music is key to appreciating the movie’s overall style.

‘Underwater Love’ (2002)

Asuka, a woman in her thirties, works at a fish factory where she unexpectedly befriends a Kappa – a creature from Japanese folklore that looks like a turtle. As they grow closer, Asuka starts to fall in love with the Kappa, leading to a rather unusual romance. The film, *Underwater Love*, will feature upbeat and catchy music from the French-German band Stereo Total.

A Pink Musical

Are you familiar with Japanese spirits called yokai? What about the genre of Japanese pink film? And do you enjoy minimalist retro techno music? If those questions leave you puzzled, you might need to do some background research before watching one of the strangest R-rated musicals ever created. While the idea of an erotic monster musical might sound interesting, this film is deeply rooted in many other obscure Japanese movies, making it difficult to enjoy if you’re not already a fan of that style.

‘Razzennest’ (2022)

Razzennest is a movie presented as a voiceover commentary during a screening of a new, experimental film by the fictional Austrian director, Manus Oosthuizen. The director and a film critic watch the film—an abstract take on the Thirty Years’ War—and argue throughout. However, a strange, almost supernatural location within the film seems to bleed into the recording studio, with dangerous results.

“I Refuse To Show the Thing I Want To Address.”

It’s common to find a bit of arrogance among artists and those who cover the arts. The humor often comes from playfully mocking these stereotypes. Johannes Grenzfurthner is a unique and captivating filmmaker known for his innovative use of visuals and sound. His film, *Razzennest*, which features horror elements unfolding during an experimental film screening, is deliberately unconventional and won’t appeal to everyone.

‘Nowhere’ (1997)

Gregg Araki’s film *Nowhere* portrays a day in the life of several alienated teenagers in Los Angeles. The story centers on Dark (James Duval), a young, bisexual filmmaker dealing with problems in his relationship with his girlfriend, Mel (Rachel True). The movie features a cast of ’90s stars – including Christina Applegate, Heather Graham, Ryan Phillippe, Shannen Doherty, John Ritter, and Denise Richards – as the quirky characters Dark meets while drifting around the city.

“I’m Just Gonna Do a Bunch of Speed Later and Not Eat for, Like, Three Days.”

As time passes, the culture of the 1990s feels increasingly distant. While Greg Araki’s film *Nowhere* is a brilliant example of punk and LGBTQ+ cinema, it’s deeply rooted in that decade and may not connect as strongly with modern audiences. Araki created a connected series of films – *Nowhere* is part of his “Teenage Apocalypse Trilogy” – and his work is best enjoyed when viewed as a complete collection. The film captures a youthful, rebellious energy, but viewers unfamiliar with the 1990s experience might find it difficult to fully appreciate.

‘Entertainment’ (2015)

Entertainment centers around a struggling comedian, portrayed by Gregg Turkington, as he travels through the Mojave Desert on a largely unsuccessful and isolating tour. The film contrasts his difficult performances – often met with hostile crowds – with strange encounters he has when he’s offstage. Rather than telling a traditional story, the movie moves from one comedic failure to the next, all while hinting at the comedian’s deep sense of unease and the meaninglessness he feels.

“Now, If You Would Like To Wander, Please Feel Free To Do So.”

Anti-comedy is an even more unusual style than cringe comedy, and it’s likely to be difficult for many viewers to enjoy. The film *Entertainment* fully embraces this approach, featuring purposefully bad and awkward jokes that intentionally break the rules of traditional comedy. Starring Gregg Turkington as his character Neil Hamburger, the film showcases Hamburger’s deliberately awful stand-up routine – filled with inappropriate jokes, delivered in a dry, monotone voice between coughs and sips of water, and sprinkled with pointless local observations. While it has a dedicated fanbase, this type of comedy won’t appeal to a broad audience.

2025-10-19 23:52