Film

Fun

Name: Fun
Genre: Drama, Thriller, Romance
Released: 1994
Cast: Alicia Witt, Renée Humphrey, William R. Moses, Leslie Hope, Ania Suli

Crime
Drama
Relentless

A brutal 1994 film about two teenage girls who become friends and commit shocking violence together, examining how ordinary people can descend into cruelty. It's unflinching, darkly fascinating, and deeply unsettling—a character study disguised as a crime narrative. For viewers unafraid of moral murk and psychological depth.

TMDb rating

2.9

If you liked this

Heavenly Creatures1994

Peter Jackson's stunning account of two girls whose intense friendship spirals into violence. Visually inventive, emotionally raw, and genuinely tragic rather than exploitative. A masterpiece about how imagination and isolation can corrode judgment.

But It's disturbing and sexually charged in ways that make some viewers profoundly uncomfortable. The violence is real and consequences-free in ways that feel deliberately cruel.

Ginger Snaps2000

Two sisters bond over their outsider status; one gets bitten by a werewolf. A sly, funny reckoning with female rage, puberty, and how marginalised girls can turn destructive. Sharper and more human than it sounds.

But Treats monstrousness as metaphor, not reality. The gore is cartoonish and the metaphor sometimes overextends itself.

Funny Games1997

Two young men terrorise a family in their home. Haneke's original Austrian film is a disciplined, philosophical assault on violence in entertainment. It implicates you. Genuinely important.

But Deliberately punishing to watch. Haneke wants you angry and complicit, which he achieves—sometimes at the cost of ever enjoying yourself.

Not sure tonight? Get a pick in a minute, starting from Fun

The wildcard

Something you would not have found on your own.

Swoon1992

Both films follow young people committing pointless murder and then grappling with what they've done, less as thriller than as psychological study of how ordinariness can contain monstrousness.

Tom Kalin's film about Leopold and Loeb, two brilliant teenagers who murdered a child, told with genuine ambiguity and strange tenderness. Black-and-white, formally radical, and utterly strange. Refuses easy judgment.

But Structurally fragmented and sometimes impenetrable. Kalin doesn't help you; he asks you to sit with moral confusion.

We Need to Talk About Kevin2011

Tilda Swinton as a mother reckoning with her son's atrocity. Fragmented, hypnotic, and focused on the parent's slow horror rather than sensationalism. A study of how we fail to see the damage in those closest to us.

But Emotionally gruelling and deliberately unsexy. Long passages of Swinton's blank, traumatised face won't appeal to anyone wanting catharsis.

Over the Garden Wall2014

A miniseries haunted by something worse than monsters—the creeping realisation that people are. Two brothers in a dark wood, myth and reality colliding. Autumn and rot made beautiful.

But Slow-burn and folkloric. If you want clarity and forward momentum, you'll find neither.

Killing Zoe1993

A woman descends into heroin use and violence alongside a man who pulls her in deeper. Roger Avary's debut is stylish, sexually frank, and brutal about how addiction and attraction entangle.

But Deeply exploitative of its female lead. The camera's gaze is not kind and the sex is not empowering.

American Psycho2000

Patrick Bateman is a handsome, successful investment banker and a serial killer. Mary Harron's film is wickedly funny about male vanity and how monstrousness hides in plain sight. Dark, clever, vital.

But The violence is cartoony but persistent. Some find it adolescent and winky rather than pointed.

Bully2001

Larry Clark's film about teenagers who murder their abusive friend. Unflinching, cast with real kids, and horrified by their casual cruelty. Feels like documentary horror, not melodrama.

But Explicitly sexual and nihilistic. Clark's aesthetic is deliberately trashy and the moral framework is nonexistent—which is entirely the point, and exhausting.

Come and See1985

Where Fun shows violence as a choice made by ordinary people, Come and See shows violence as something that happens to ordinary people and unmakes them. Both ask: what does cruelty do to the soul? Fun answers 'less than you'd think'; this answers 'everything'.

Elem Klimov's Soviet film follows a boy conscripted into war and gradually destroyed by what he witnesses. Not for narrative—for the sheer, unbearable weight of cruelty made actual. A film about the end of innocence.

But Nearly unwatchable. Relentlessly bleak, shot in ways designed to maximise discomfort. Some viewers will find this sadistic rather than meaningful.