Entertainment

The dark comedy genre walks a tightrope, balancing unsettling themes with moments of levity. When that balance falters, the result can be jarring, leaving audiences unsure whether to laugh or recoil. The recent release, “How to Make a Killing,” attempts this precarious act, but largely misses the mark, failing to deliver the satirical punch promised by its premise. The film’s tonal inconsistencies highlight a crucial lesson: executing a successful dark comedy requires a deft hand and a clear understanding of what makes the genre work. A prime example of how to get it right? The 1989 cult classic, Heathers.

Heathers, directed by Michael Lehmann and written by Daniel Waters, remains a touchstone for dark teen comedies. Released in March 1989, the film stars Winona Ryder, Christian Slater, and Shannen Doherty, and centers around a clique of high school girls – three named Heather – whose lives are disrupted by a newcomer with a sinister agenda. The film’s success lies in its willingness to confront uncomfortable truths about high school social dynamics, popularity, and the darker impulses of adolescence, all while maintaining a razor-sharp satirical edge. It’s a masterclass in blending the horrific with the humorous, a feat that many subsequent attempts have struggled to replicate.

The core of Heathers’ brilliance is its unflinching portrayal of teenage cruelty. The “Heathers” themselves aren’t simply mean girls; they represent a system of power and exclusion that perpetuates suffering. The arrival of J.D. (Christian Slater), a brooding and cynical outsider, initially seems like a disruption to this order. However, his methods of addressing the problem – murder disguised as suicide – quickly escalate, turning the film into a darkly comedic thriller. The film doesn’t glorify violence; instead, it uses it to expose the absurdity and hypocrisy of high school culture. According to Winona Ryder, she initially “thought it was a masterpiece,” and continues to believe This proves “a real masterpiece” even 36 years later, as reported by ScreenRant.

Daniel Waters reportedly wrote Heathers as a direct response to the optimistic teen movies popularized by John Hughes. He aimed to present a more cynical and realistic depiction of high school life, one that acknowledged the pain and alienation experienced by many teenagers. Waters even initially envisioned Stanley Kubrick directing the film, inspired by Kubrick’s own darkly comedic masterpiece, Dr. Strangelove. This ambition to subvert expectations is evident throughout the film, from its stylized visuals to its provocative dialogue.

The success of Heathers wasn’t immediate. The film premiered in Milan, Italy, in October 1988, before appearing at the Sundance Film Festival in January 1989, as detailed on Wikipedia. It was eventually released theatrically in the United States on March 31, 1989, grossing $1.1 million against a budget of $3 million, according to Wikipedia. Despite its modest box office returns, the film quickly gained a cult following, becoming a defining film of the late 1980s and influencing countless subsequent dark comedies.

The Importance of Satire in Dark Comedy

What sets Heathers apart is its effective use of satire. The film doesn’t simply present dark events; it uses them to critique societal norms and expose the flaws of human behavior. The exaggerated characters and absurd situations serve to highlight the underlying anxieties and insecurities of adolescence. This satirical approach allows the film to address serious issues – such as bullying, suicide, and social pressure – without becoming overly sentimental or preachy.

Why “How to Make a Killing” Falls Short

In contrast, “How to Make a Killing” reportedly struggles to locate this balance. {Unconfirmed reports} suggest the film attempts to tackle similar themes of greed and desperation, but does so without the necessary wit or nuance. The lack of a clear satirical perspective results in a film that feels exploitative rather than insightful. Without a strong comedic foundation, the dark elements of the story become simply disturbing, failing to provoke thought or elicit genuine laughter.

The key takeaway from comparing Heathers to films like “How to Make a Killing” is that dark comedy is not simply about presenting unpleasant content. It’s about using humor to challenge our perceptions, expose hypocrisy, and make us think. Heathers achieved this by embracing its own absurdity and refusing to shy away from uncomfortable truths.

As the landscape of dark comedy continues to evolve, the lessons of Heathers remain relevant. The film serves as a reminder that a successful dark comedy requires more than just shocking twists and morbid humor; it demands intelligence, wit, and a willingness to confront the darker aspects of the human condition. The future of the genre will likely depend on filmmakers’ ability to learn from the successes – and failures – of those who have come before.

What are your favorite examples of successful dark comedies? Share your thoughts in the comments below and let us know what you think makes the genre work.

The 98th Academy Awards are approaching on March 15th, and among the nominees is a deeply personal and poignant documentary, “Armed Only With a Camera: The Life and Death of Brent Renaud.” The film, nominated in the Documentary Short Film category, chronicles the life and tragic death of Arkansas documentarian Brent Renaud, who was killed in March 2022 while reporting on the Russian invasion of Ukraine. The Oscar nomination brings a mix of emotions for those who knew and worked with Renaud, particularly his brother and filmmaking partner, Craig Renaud, and those who contributed to bringing his story to the screen.

The nomination is a testament to Renaud’s dedication to impactful journalism, but it also serves as a stark reminder of the dangers faced by reporters covering conflict zones. “Armed Only With a Camera,” released by HBO in October, isn’t just a recounting of his death; it’s a celebration of a life devoted to humanitarian documentary work, showcasing footage from a vast collection of projects undertaken by the Renaud brothers. The film’s recognition by the Academy underscores the importance of bearing witness, even in the face of immense risk.

A Life Dedicated to Storytelling

Brent Renaud, a visiting distinguished professor of journalism ethics at the University of Arkansas in 2019, was known for his commitment to covering challenging and often overlooked stories. As noted by a University of Arkansas professor, Renaud “was never afraid to cover the underbelly of life,” whether it was documenting war zones or the struggles of individuals facing addiction in rural and urban America. His work consistently focused on giving a voice to the marginalized and shedding light on challenging realities. He was remembered by those at the University of Arkansas for his love of the Arkansas Razorbacks, a detail that highlighted his deep connection to his home state.

The documentary features footage from the Renaud brothers’ extensive body of work, highlighting their collaborative spirit and shared passion for impactful storytelling. Andy Sarjahani, a cinematographer who grew up in Russellville, Arkansas, also contributed to the film, having previously worked with Renaud on “The Barber of Little Rock,” which received an Oscar nomination in 2024. Sarjahani’s involvement adds another layer of Arkansas connection to the project, emphasizing the local roots of this internationally recognized story.

A Tragic Loss and a Lasting Legacy

Renaud was fatally shot by Russian forces in March 2022 while reporting near Kyiv, Ukraine. The circumstances surrounding his death underscored the dangers journalists face in conflict zones, and sparked international condemnation. Governor Asa Hutchinson expressed his gratitude for the dedication of media covering the attacks in Ukraine, acknowledging the personal risk and sacrifice involved. The documentary serves as a powerful tribute to Renaud’s courage and commitment to truth-telling.

“Armed Only With a Camera” is competing against four other nominees in the Documentary Short Film category: “All the Empty Rooms,” “Children No More: Were and Are Gone,” “The Devil Is Busy,” and “Perfectly a Strangeness.” The 98th Academy Awards ceremony will be hosted by Conan O’Brien, adding a touch of levity to an event that also honors profound and often challenging stories.

Bittersweet Recognition

The Oscar nomination is a bittersweet moment for Craig Renaud, who co-directed the film with his brother. While it’s an honor to have their work recognized by the Academy, it’s also a painful reminder of the loss of his brother and creative partner. The film stands as a lasting testament to Brent Renaud’s life and work, ensuring his dedication to journalism and humanitarian storytelling will continue to inspire.

The recognition also highlights the importance of supporting independent journalism and protecting the safety of reporters working in dangerous environments. The film’s nomination serves as a call to action, urging audiences to value and defend the freedom of the press and the pursuit of truth.

As the Academy Awards approach, “Armed Only With a Camera” offers a powerful and moving tribute to a journalist who dedicated his life to bearing witness. The film’s success is not just a celebration of Brent Renaud’s legacy, but also a reminder of the vital role journalists play in informing the world and holding power accountable. The outcome of the awards ceremony remains to be seen, but the film has already achieved a significant victory by bringing Renaud’s story to a wider audience.

What are your thoughts on the importance of documentary filmmaking in today’s world? Share your comments below and help us continue the conversation.