Film
The Mule
Other titles called The Mule: the 2018 film.
A 1983 Australian crime-comedy about a naive man arrested with heroin in his stomach who makes an absurd choice: hold onto the evidence by any means necessary. It's deadpan, darkly funny, and unexpectedly tense—a film that finds genuine comedy and pathos in bodily humiliation and the desperation of ordinary people in extraordinary situations.
Should you watch it?
Watch it if you enjoy dry, deadpan Australian crime comedy where a grubby predicament is played straight and the humour comes from characters who take themselves far too seriously.
Skip it if you want a brisk plot with constant escalation; this is talky and unhurried, and its bodily gross-out humour may sit badly if it feels more unpleasant than funny.
What it asks of you: Its shape is unhurried and tightly wound, running about 103 minutes, so it wants patience and a willingness to sit with discomfort while the comedy stays dry.
Not sure? Find tonight's pick in a minute.
If you liked this
Four Rooms1995
Confined-space comedy-thriller with an everyman protagonist navigating absurd situations with escalating stakes. Quirky ensemble cast, rapid-fire dialogue, and a building sense of dread beneath the laughs.
But The 1990s indie sensibility feels dated, and some find it more clever than actually funny. It's also considerably more self-consciously anarchic.

In Bruges2008
Dark comedy-thriller about two hitmen hiding out after a job goes wrong. Smart, profane, visually gorgeous, and genuinely moving. It balances brutal violence with unexpected tenderness.
But The tone shifts between comedy and tragedy can feel jarring. It's also heavier and more mannered than The Mule's working-class simplicity.

Kiss Kiss Bang Bang2005
Crime-comedy that riffs on noir tropes with a hapless protagonist bumbling through LA's underworld. Snappy dialogue, real chemistry between leads, and a wildly entertaining pace.
But The self-aware narration and meta-commentary might feel tiresome. It's slicker and considerably more cynical.

Not sure tonight? Get a pick in a minute, starting from The Mule
The wildcard
Something you would not have found on your own.
Chopper2000
Both are Australian films that find dark comedy in crime without softening their edges. They share a fascination with ordinary men whose choices define them, and both trust the audience to laugh and cringe simultaneously.
Australian true-crime black comedy about an iconic prisoner who befriends the journalist writing his biography. Hilarious and disturbing in equal measure, with Eric Bana giving a career-best performance that's both charismatic and unhinged.
But It's genuinely graphic in places and doesn't flinch from its subject's violence. Some will find the comedy-to-brutality ratio uncomfortable, and it can feel formless.

More like this (8)
Fargo1996
Darkly comic crime thriller about ordinary people in extraordinary circumstances. Brilliant ensemble, Midwest atmosphere, and the Coen Brothers' trademark blend of humour and menace.
But It's a masterpiece everyone has already seen. Some find the accents distracting rather than charming.

After Dark, My Sweet1990
Neo-noir about a drifter drawn into a kidnapping scheme with an unreliable protagonist and genuine unpredictability. Low-key tension and a melancholic atmosphere that lingers.
But It's slow-burn and deliberately unglamorous. Obscure enough that you might struggle to track it down.

The Debt2010
Israeli thriller about three former secret agents confronted by a target they thought they'd buried decades ago. Taut, morally ambiguous, and structured like a puzzle box.
But The parallel timeline structure can feel convoluted. It's more serious and less comedic, with a slower reveal.

Hell or High Water2016
Contemporary Western about two brothers robbing banks to save their ranch, pursued by a determined ranger. Tight script, excellent performances, and genuine tension throughout.
But The pacing is methodical rather than propulsive. It's character-driven in ways that can feel slow if you're looking for constant action.

A History of Violence2005
Cronenberg thriller where an ordinary man's violent past catches up with him. Explores masculinity and suburban facades with intensity and dark wit.
But The violence is sudden and brutal, which some find gratuitous. It's also considerably more serious and existential.

The Gentlemen2020
Slick crime-comedy with an ensemble cast navigating London's drug underworld. Fast-paced, funny, and boasts strong performances from an excellent group.
But It prioritizes style and banter over substance. Some find it lightweight and disposable despite its polish.

Papillon1973
Both centre on a man's bodily endurance and willpower in captivity. Both are ultimately about ordinary resilience under extraordinary circumstances, and both make you admire their protagonists despite—or because of—their flaws.
Steve Reeves and Dustin Hoffman in a French prison thriller about escape and survival. Methodical, visually stunning, and genuinely suspenseful. A completely different era of filmmaking—patient, committed, and utterly engrossing.
But It's nearly two-and-a-half hours and deliberately paced. The 1973 sensibility might feel slow to modern viewers accustomed to quicker cuts.

The Guard2011
Both are crime films that locate comedy in character rather than concept. They share an affection for working-class protagonists who are smarter than they first appear, and both trust that funny and touching can coexist without either cancelling the other out.
Irish comedy-thriller pairing a small-town Garda with an FBI agent hunting a drug smuggler. It's genuinely funny, surprisingly warm, and Brendan Gleeson is magnificent: crude, sharp, and unexpectedly wise.
But The Irish vernacular and dialect-heavy dialogue can be hard to parse. It's also more conventional in structure, and some find the sentiment sappy.

People
Cast
Hugo WeavingTom Croft
Angus SampsonRay Jenkins
Leigh WhannellGavin Ellis
Ewen LeslieParis
Geoff MorrellJohn
Georgina HaigJasmine Griffiths
Noni HazlehurstJudy Jenkins
John NoblePat Shepherd
Chris PangPhuk
Nick FarnellCustoms Scott
Marney McQueenCustoms Deb- Dave LawsonCheeky Graeme
Directing
- Angus SampsonCo-Director
- Tony MahonyDirector
- Mardi BycroftScript Supervisor
Writing
- Simon van der BorghScript Consultant
- Jaime BrowneStory
- Angus SampsonWriter
- Jaime BrowneWriter
- Leigh WhannellWriter
Production
- Miranda ColmanCo-Producer
- Angus CouplandExecutive Producer
- David GriffithsExecutive Producer
- Leigh WhannellExecutive Producer
- Michele BennettExecutive Producer
- Angus SampsonProducer
- Jane LiscombeProducer
- Kate MurphyProduction Accountant