13 Unapologetic '90s Comedies That Are Unbothered by Your Offense

      These unapologetic ’90s comedies are indifferent to whether or not you feel offended. Their primary goal is to make you laugh, and many also incorporate some clever insights.

      **There’s Something About Mary (1998)**

      Twentieth Century Fox – Credit: 20th Century Fox

      What’s in Mary’s hair (shown above) may prevent certain viewers from enjoying this film, regardless of the other aspects. It features a considerable amount of bathroom and private parts humor (especially in its memorable opening scene), which may be too much for the sensitive audience to handle.

      If viewers can get past that, the film takes an unconventional stance that people with disabilities should be included in the humor — not as the target of ridicule but as participants in the jokes.

      Nonetheless, There’s Something About Mary, much like many Farrelly Brothers films — and ’90s movies in general — possesses a profound emotional core hidden beneath the crude humor.

      **Friday (1995)**

      New Line Cinema – Credit: C/O

      The straightforward dialogue of Craig (Ice Cube) and Smokey (Chris Tucker) may alienate some viewers, but let’s be honest: Friday is hilarious. The scenario of well-meaning Craig getting caught up in trouble with Deebo (Tommy Lister Jr.) over a minuscule portion of Smokey’s stash is entertaining.

      The film also delivers a powerful message regarding gun violence and the true meaning of manning up. While it’s preferable to resolve conflicts through conversation, when that’s not possible, using fists is significantly less lethal.

      **Austin Powers: International Man of Mystery (1997)**

      New Line Cinema

      Austin Powers is filled with edgy humor — a film brimming with innuendo and overtly crude jokes.

      However, the movie acknowledges its silly and gross nature, which lends it an air of cleverness, allowing us to feel intelligent while laughing. It pays tribute to years of James Bond-like wordplay.

      Moreover, the moment when Austin declines to sleep with Vanessa — “’cause you’re drunk, it’s not right” — has aged remarkably well. We witnessed a millennial audience burst into applause for that line during a viewing in 2017. Yeah, baby!

      **Kingpin (1996)**

      MGM

      The second entry from the Farrelly Brothers on our list might upset Amish viewers, assuming their beliefs allowed them to see it. They would miss out on plenty of suggestive humor, largely thanks to Claudia (Vanessa Angel), along with an outstanding yet crude joke involving a bull.

      Woody Harrelson’s reaction to the film's best line, delivered by an Amish character, might be his finest on-screen moment, showcasing a masterful example of subtle acting. After this film, a milk mustache will be viewed differently.

      **Fear of a Black Hat (1994)**

      The Samuel Goldwyn Company – Credit: C/O

      Featuring Rusty Cundieff, who also wrote and directed, Fear of a Black Hat serves as a sharp satire of ever-evolving hip-hop trends that reacts nearly instantaneously.

      This film, which debuted at Sundance, follows a political/gangster rap group named NWH (the H stands for hats) as they splinter into various other genres, including desperate diss tracks, philosophizing akin to P.M. Dawn, and C&C Music Factory-style dance music.

      The film’s affection for hip-hop is evident — one cannot satirize something so harshly without a deep knowledge of it. We love this film.

      **Clerks (1994)**

      Miramax – Credit: C/O

      Clerks is a Kevin Smith film, which naturally means it’s packed with crude humor — highlighted by a scene where Dante (Brian O’Halloran) laments the sexual history of his girlfriend (Marilyn Ghigliotti). Simultaneously, Dante’s ex, Caitlin (Lisa Spoonauer), experiences a horrific case of mistaken identity with an elderly customer at the store where Dante works.

      Despite its contentious moments, Clerks was recognized by the Library of Congress, which added it to the United States National Film Registry for being “culturally, historically, or aesthetically significant.” This film, shot on a budget of about $27,575, contributed to the rise of independent cinema in the ’90s.

      **Freeway (1996)**

      Republic Pictures – Credit: C/O

      Matthew Bright’s darkly comedic Freeway, featuring a young Reese Witherspoon, is one of our favorite ’90s films due to its relentless, grindhouse-like sensationalism. It satirizes the tabloid culture of the ’90s while mastering it.

      In this twisted retelling of Little Red Riding Hood, Witherspoon portrays an illiterate runaway aiming to reach her grandmother’s house after her mother is arrested for sex work. Her Big Bad Wolf is Bob (Kiefer Sutherland), a supposed good