Film

Penn & Teller Get Killed

Penn and Teller's 1989 film is a deranged comedy-thriller where the magicians play themselves, caught between a stalker obsessed with killing them and a femme fatale with her own agenda. Arthur Penn directs with anarchic energy, treating violent set pieces as punchlines. It's gleefully unhinged, operating in the space between Hitchcock and vaudeville—for viewers who find conventional comedy too polite.

TMDb rating2.8

Should you watch it?

Watch it if you enjoy comedy that plays a shaggy, self-aware premise straight, then keeps pushing it until the jokes turn into suspense, especially if you like magic-world cynicism and genre-bending craft.

Skip it if you want steady gags from start to finish, because its laughs may arrive in uneven bursts and the stretches between can feel slack if you're not on its wavelength.

What it asks of you: Under ninety minutes, with a plot that keeps shifting shape and a tone that changes lanes, so it wants your full attention rather than half of it.

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Eating Raoul1982

A cult-classic black comedy about a conservative couple who murder swingers for cash. Same DNA of suburban horror played for laughs, same willingness to make the audience complicit in something deeply wrong.

But The humor is pitch-black and deeply uncomfortable. If you need comedy to feel safe, this will feel cruel instead.

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After Hours1985

Scorsese's only comedy: a man's night in downtown Manhattan spirals into surreal nightmare. Like Penn & Teller, it's kinetic, paranoid, and finds comedy in escalating chaos and mistaken identity.

But It's relentlessly bleak and exhausting. By design. The tone stays wound so tight it never lets you breathe.

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Heathers1989

High school murder-mystery comedy with the same sharp teeth—death treated as punchline, suburban darkness, teenagers as chaos agents. Released the same year, same frequency.

But Some of the satire hasn't aged brilliantly. The gender politics are very '80s in ways that now read dated.

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The wildcard

Something you would not have found on your own.

Ratatouille2007

Magic as revelation of mechanism: both show you the trick and make you love it anyway.

A Pixar film where a rat controls a chef by pulling his hair. Both films are elaborate con jobs built on the admission that magic is just misdirection and coordination—one made with stunning craftsmanship, both celebrate the absurdity of the premise rather than hiding it.

But It's a family film with emotional beats that might feel saccharine if you're watching for cynicism. The message about following your passion is earnest in a way Penn & Teller actively resists.

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The Ladies Man2000

A barely coherent sketch-comedy feature where the plot exists only as scaffolding for weirdness. Tim and Eric's spiritual ancestor—format barely matters, anarchy is the point.

But There is no conventional structure. If you need narrative momentum to stay engaged, you'll find it frustrating.

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Something Wild1986

Road movie that flips from rom-com to genuine thriller without warning. Same tonal whiplash as Penn & Teller—charming one moment, legitimately dangerous the next.

But The tonal shifts feel jarring even to people who like the concept. Some viewers find it manipulative rather than playful.

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Phantom of the Paradise1974

Brian De Palma's rock-opera horror-comedy about a composer destroyed by a record mogul. Theatrical, grotesque, committed to its own absurdity in a way that predates Penn & Teller's approach.

But It's genuinely weird and occasionally hard to follow. The satire is more surreal than pointed, which can feel pointless.

Phantom of the Paradise poster

The Loved One1965

An ensemble satire about LA's funeral industry, adapted from Evelyn Waugh. Darkly comic, star-studded, and unafraid to find humor in death and American excess.

But It's very 1960s in pacing and sensibility. Younger viewers often find it slow despite the satirical intent.

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Get Crazy1983

A rock-and-roll punk farce set during a New Year's Eve benefit concert. Anarchic, music-driven, committed to chaos as a value system rather than a problem to solve.

But The plot is genuinely incoherent. Some of the humor is juvenile. The anarchism can feel more adolescent than genuinely subversive.

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Pandora's Box1929

A low-budget indie about a woman who steals from a crime boss. Chaotic, self-aware, willing to break rules and admit the camera is there. Spirit of anti-establishment fun on a shoestring.

But The production values are rough. The acting is uneven. It feels more like a dare than a finished film, and not everyone goes for that.

Pandora's Box poster

F for Fake1973

Both are films about deception as art form and the camera as a tool for lying beautifully.

Orson Welles' essay-film about forgers, magicians, and the nature of authenticity. A 52-minute film that plays like a magic trick itself—you're never sure what's real and that's exactly the point.

But It's a documentary-essay hybrid, not a narrative. If you need a story with characters and stakes, this will feel formless and self-indulgent.

F for Fake poster

Synecdoche, New York2008

Both treat performance and artifice as the deepest truth about how we live, but Penn & Teller laughs at this and Kaufman grieves it.

Charlie Kaufman's meta-theatrical nightmare about a director building a replica of New York inside a warehouse. Both films are obsessed with performance, identity, and the question of whether anything is real—but this one goes genuinely dark and sad.

But It's bleak, sometimes incoherent, and demands active intellectual engagement. It's also three hours. If you want entertainment rather than emotional excavation, it will exhaust you.

Synecdoche, New York poster

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