Several gags in Airplane! are only funny because they manage to cross the line twice.
A small child on the verge of death and in need of an emergency transplant? Tragic. Said child's IV being knocked out by a singing, guitar-playing stewardess who remains cheerfully oblivious as the girl spasms and tries to get the tube back in? Hilarious. It gets even better when the girl's mother is so caught up in the song she doesn't even notice the missing tube.
When a woman goes hysterical, she gets slapped across the face twice. First she gets slapped twice by Dr. Rumack, but then she gets slapped the face by a nun making it all the more hilarious.
Then they top it by revealing everyone on the plane lined up with a verity of weapons ready to "comfort her".
Not to mention the overly long argument between the male and female PA announcers at the beginning, which degenerates into the male announcer pressuring the female announcer to have an abortion.
While in the Peace Corps, Ted briefly shows some African tribesmen how to play basketball; within seconds, they're dunking on him and perfectly nailing free throws.
The Running Gag with Captain Oveur asking a young boy creepily inappropriate questions like "You ever seen a grown man naked?" - which is the first such question he asks, while the others are just suggestive.
The passengers next to Striker are Driven to Suicide by listening to his long, boring life story.
The kids dressed up and speaking like well-behaved adults. Cute and all, until the boy asks the girl if she would like some cream for her coffee, she responds with:
Little Girl: No, thank you. I take it black. Like my men.
The implication that Mrs Oveur had sex with a horse? Disgusting. But the fact that the horse was lying in bed next to her like they were a regular couple, topped her talking to it like it fully understood the situation made it hilarious.
The Aristocrats. Any half-decent rendition should cross the line at least a dozen times, in every direction. Bob Saget practically picks up the line and jumps rope with it in his rendition.
Three of Sacha Baron Cohen's films —Borat, Bruno, and The Dictator— were built around this trope.
Although it doesn't involve violence on more than a slapstick level, the naked fight in Borat is a notable attempt. Two guys fighting naked in a hotel room is already borderline after nearly a minute, taking it out into the hall is just excessive, sending them charging into a conference room... well, it depends on each viewer where you stopped laughing and whether you started again.
Although Sacha does emphasize the long European tradition of mocking Americans for not being Europeans. In some parts of the world what he did was seen as completely normal (albeit the baby was to have everyone treat America as 'srs bsns', same with the nude scene just to get a reaction from the homophobes in the audience), yet all he did was suffer abuse from others, especially as Borat. No-one stopped to think "Wait, this guy is from a different country."
Borat's portrayal of Kazakhstan is so ignorant and over-the-top it goes beyond offensiveness. It may explain why the film got a niche popularity in Kazakhstan itself.
In The Dictator, every line said by the eponymous dictator Aladeen is horrifically offensive. In one scene, he is discussing dropping nuclear weapons on Israel — but he believes the weapons will behave like the bombs in Looney Tunes. In another, he plays a Wii terrorism video game and plays a level where he shoots caricatures of Jews in Munich. His advisers call for him, so he agrees to come see them right after his current level. Cue the video game narrator saying, "Bonus level, Mass Grave," then cut to Baron Cohen miming digging one with his Wii-mote controller. Aladeen is not the only character to engage in this kind of antics.
An overwhelming number of scenes in Peter Jackson's Bad Taste contain slapstick violence taken to a ludicrous extreme.
"A headshot's the only true stopper!" Cue two point-blank cranium-destroying headshots with a large revolver.
Or the final killing blow against the Big Bad, in which the hero dives from the ceiling, chainsaw-first, towards the top of the monster's head, emerges from between its legs covered in gore, and quips that he is "born again".
The scene of Joker convincing a hospitalized Harvey Dent that he (rather than the Joker himself) was responsible for his girlfriend Rachel's death and instigating Harvey's Start of Darkness into Two-Face should not be comedic by any stretch of the imagination. But here, it's absolutely hysterical because the Joker does it while Disguised in Drag as a nurse (not in practical scrubs, mind you, but in a short-skirt white outfit and hat that one would expect to see in a porn scene) throughout the entire time.
The use of Country Matters in Being John Malkovich is a textbook example. When the agent shakes hands with Craig-in-Malkovich's-body and says, "Sorry about the cunt at reception," it seems like an attempt to shock and feels a bit misjudged. It's with the immediate repetition, when he shakes Maxine's hand and says the same thing as if it's just part of the polite routine of introductions, that it becomes hilarious.
The Big Lebowski: "What's this day of rest shit? What's this bullshit? I don't fuckin' care! It don't matter to Jesus. But you're not foolin' me, man. You might fool the fucks in the league office, but you don't fool Jesus. This bush league psyche-out stuff. Laughable, man — ha ha! I would have fucked you in the ass Saturday. I fuck you in the ass next Wednesday instead. Wooo! You got a date Wednesday, baby!"
The Big Store: When 6 kids to an Italian family of 14 (12 kids and their 2 parents) goes missing, Ravelli confuses an asian family for the missing kids, the asian family all dressed in stereotypical Oriental clothes and faux-Chinese music starts playing. Just when you think this should fall under the Values Dissonance trope, in walks a family of Native Americans all dressed in Braids, Beads and Buckskins, the father in a headdress, Ravelli takes their kids to the hysterical Italian mother, and suddenly what many would call offensive... is still offensive, but it's also pretty funny.
The Boondock Saints: Shooting a cat? Despicable. Accidentally shooting a cat and reacting with a Cluster F-Bomb? Pretty funny. Accidentally shooting a cat, reacting with a Cluster F-Bomb and attempting to cover the bloodstain by covering it with a picture of the cat only half the size of the stain? Hilarious.
Same as with Bad Taste, Peter Jackson's Braindead (Dead Alive). Lawnmower + zombies anyone? And Lionel beating the shit out of the zombie baby in broad daylight, in the middle of a public park. Even funnier is him defending himself from the horrified onlookers by cheerfully explaining that it's "Hyperactive!" as he's still struggling with the damned thing.
Carrie: In The Rage: Carrie 2, the death of Sue Snell. Throughout the film, she's trying to convince the lead character (Rachel) not to give into the telekinetic rage that consumed Carrie White in the original film. When the final act starts and Rachel predictably loses it, Sue Snell walks up to the front door of the party she's in and attempts to open it to no avail. Rachel throws a fire poker that goes through the head of one partygoer, through the door and into Sue's head. That's not the line-crossing part. It's when several shots after this show her body (and the body of the other partygoer) swinging side to side on the door as it gets thrown open and closed several times, looking like cheaply-made ragdolls in the process.
Anything by John Waters. Cherish in Cecil B. Demented takes this up a notch with her claim "When I was ten years old, my entire family fucked me under the Christmas tree!" Even by Waters' standards, this is a doozy.
In Con Air, when twisted serial killer Garland Greene says with a completely straight face "One girl, I drove for three States wearing her head as a hat."
In the film Curado de Espantos, the protagonist, Jacinto, is trying to save a woman from a vampire, and attempts to use a cross. The vampire laughs it off, noting that all of his ancestors were Jewish. Jacinto, in response, takes out a Swastika and yells "Heil Hitler!", and the vampire reels back in pain.
District 9 is a very grim and serious movie that takes an unflinchingly realistic look at the evils of apartheid through a science-fictional lens. That doesn't make it any less funny when the protagonists get hold of the really big guns that the aliens have and unleash them on the MNU mooks, who are some truly loathsome people. People who get shot with the alien weapons in this movie don't just bleed, they explode in cartoonishly ginormous clouds of blood. The fact that the mooks keep coming like they think they have a chance against such overpowered weaponry just makes the gag even more morbidly hilarious.
Django Unchained: In the climactic shootout of the movie, there's this one guy, Jesse, who may be the unluckiest Mook ever to appear in a western. When things kick off, Jesse piles in through the door and immediately gets taken out by a shot to the gut. But he doesn't die, he lies there getting riddled with bullets, over and over. The whole scene would be pure Nightmare Fuel if not for Jesse's friends shouting out horrified apologies to him for their Unfriendly Fire from behind cover. As if it couldn't get worse for Jesse, at one point a really fat guy runs out to him and gets killed and falls over dead on top of him. Jesse is still alive by the end of the gunfight when Django is forced to surrender.
Final Destination: Death has a sense of humour like this, apparently. Racist dumb redneck planting a burning cross into a black guy's front lawn? That's not funny. Death disengages the handbrake to his truck, locks the front door, and sets the radio to play "Why Can't We Be Friends?", ruining his plan? That's pretty funny. Racist's leg gets caught on a hook and chain dragging behind the truck while he's trying to stop it, leaving him being dragged down the street by his truck while he's on fire, with the song still playing at higher volume? That's absolutely hysterical!
The Flash (2023): The "baby shower" scene. An entire hospital wing is collapsing, with the maternity department on the top floor, sending nine babies, a screaming nurse and a therapy dog hurtling toward the ground, and in several of the babies' cases, a bunch of surgical scalpels, a bottle of acid, a cabinet and a jet of flame from a gas canister. Barry shoots upward as fast as he can, lunges toward a falling baby... and then smashes through the front of a vending machine that is also dropping, grabbing a bunch of snacks, as he's almost out of energy. Having recharged, he then begins shifting things around to protect the babies, shoving one into a microwave to protect it from the flames (and helping himself to the burrito that was inside), grabbing them all out of midair and arranging them on a stretcher, before returning to normal speed at ground level. At which point the microwave "ding"s and he triumphantly brings out the baby as if serving up a ready meal.
Violence against women is really not a laughing matter, but in Denmark the egg-blowing scene from the 2000 comedy Flickering Lights, about four gangsters from Copenhagen, who hide from their former boss in an abandoned country inn, is generally considered the funniest thing to hit the silver screen that decade. And yes, that is Le Chiffre behind the long hair and the moustache. And Sarah Lund as the laughing woman. A lot of non-danish speakers lash out at this, calling it glorification of violence against women. However, she has spent the majority of the film constantly being a pain in the ass and emotionally dominating and abusing another of the main characters (in a sort of unaware "I'm the girlfriend so I decide everything" kind of way) up to this point — that, combined with the childishness of the situation is what makes the punch very satisfying and hilarious.
The 1992 comedy Folks!, starring Tom Selleck, may be a good example of this. The movie is not only built on a squick premise, but involves the hero enduring serious injury after serious, permanently disfiguring, injury in the course of otherwise typical slapstick violence.
You could argue the entire movie is this, but when you see the scene when Forrest Gump explains Lt. Dan was from a long military tradition, and then you see a Death Montage of Gary Sinise (the actor playing Lt. Dan) playing a different ancestor just at the moment of his death, in a different battleground, with a war uniform more modern that the last, you don't think that the movie is mocking those soldiers' patriotism or sacrifice, but you see it as questioning the intelligence and sanity of Glory Hound Lt. Dan, whose desire to die in battle makes Forrest seem like a genius by comparison.
Frankenstein: In Flesh for Frankenstein, evisceration is the order of the day: four characters are given this treatment, some of them multiple times. Udo Kier finishes the movie giving a grandly defiant speech for several minutes with his gut hanging on a pole inserted through his middle.
Funny Games, both of them, are really sadistic. These movies are a satire of this trope, as well as a commentary on "torture-porn" violence.
The Pig Lizard in Galaxy Quest counts as this. An animal being turned inside out by a teleporter and exploding? Nasty. The guts hitting an alien in the face, who then reports that it exploded in a completely calm manner to the person who was set to be transported by the same machine? Hilarious. If it was any less gross, it wouldn't be nearly as funny.
Hook: During the Lost Boys' dinner, Peter gets into a insult war with Rufio. After struggling, Peter starts winning when he starts throwing insults such as "prison barber" and "nearsighted gynecologist". Only Robin Williams could get away with such insults aimed at kids.
The House of Yes has a moment in which a character relates that she once went to a costume party as Jackie Onassis in the pink dress she wore when JFK was assassinated,... complete with fake blood and brains splattered on it.
Lars von Trier's The Idiots, like many of his films, tries to ignore the line as much as possible. On offer are (intentionally) badly shot scenes of both male and female full-frontal nudity as well un-simulated sex. However, a greater deal of criticism instead regards the plot point of having people pretending to be mentally disabled, partially for the sake of humour. Some claim that von Trier wouldn't have gotten away with as much as he did without abusing True Art, while some definitely think it's more than admirable for what it eventually does with itself.
Indiana Jones and the Last Crusade: Indy and his father have to travel to Berlin to get the Grail diary back from a Nazi book burning. But after Indy gets it back, he finds himself face-to-face with Adolf Hitler himself. The encounter is equal parts horrifying and hilarious, as Hitler mistakes Indy, who's disguised as a Nazi soldier, for a fan, and the Grail diary for an ordinary one, and very matter-of-factly autographs it before moving on.
Inglourious Basterds does this a lot, but the most awesome one is the assassination plot, where they bust in, shoot down Hitler with MP40's, and empty their clips into the body of Joseph Goebbels. Then they reload, shoot the entire subsequent magazine's worth into Hitler's face and to top it off, the entire theater explodes.
The original CBS/Fox release of the movie starts with "A Very Public Service Message" from Schweppes that warns that the feature presentation contains gratuitous violence through its spokesman as said spokesman dodges numerous attempts on his life, including a razor hat boomerang, a knight's axe, an exposed electrical wire (which kills said knight, elicits a digitally altered Wilhelm Scream, and causes the spokesman to think it's time for dinner), a booby trap placed by a window, a femme fatale, a ninja, and an assassin behind a door before having four bullets emptied into him by an offscreen gun that sweeps the screen from left to right. He doesn't realize he's been shot until the cup of Schweppes he just drank starts leaking out of his bullet holes. Said spokesman is none other than John Cleese who, as we've already mentioned, is himself no stranger to shredding the line.
Perez: What about the money, padrón? Sanchez:[Beat] Launder it.
The Jerk: Navin Johnson, after becoming very wealthy from his Opti-Grab eyeglasses, is speaking with some developers thinking about building an apartment complex. Navin is onboard until they say they want to "keep the niggers out". Navin, who grew up in a black family, doesn't take kindly to this, yelling "Sir, you are talking to a nigger!", and kicks everyone's ass.
Single scene example: Dave gets stabbed in the gut. The audience winces. He then staggers out into the street and gets flipped by a car. The audience starts laughing.
The attempted rape scene. The Tumor holds down Night Bitch and Mother Fucker prepares to rape her... only to be embarrassed when he gets erectile dysfunction and starts playing himself to try and get "ready," all the while The Tumor and even Night Bitch are laughing at him.
The Motherfucker's choice for some of the names of his team of villains. Genghis Carnage and Black Death, anyone?
Javier: Chris, Jesus, maybe you could pick something less horrifically racist?
The maximum bloody Crazy 88 fight scene in Vol 1. At first the blood is a powerful and startling effect. But after a while the ridiculously high pressure and copious volumes of blood from even minor wounds, combined with the sheer number of bodies piling up at The Bride's feet become a source of gory amusement. Note that the high pressure effect was used in O-Ren's backstory anime to good dramatic effect.
Before that, we have O-Ren's introduction scene, where, after an insult to her heritage, she lops off a rival crimelord's head. His neck proceeds to shoot blood five feet into the air for a solid 10-15 seconds, which only makes it hilarious.
After that, the fight with Gogo doesn't quite make it, but this does.
The entire church scene. A bunch of people being forced to murder their friends and family against their will? Horrifying. Doing so the tune of Lynyrd Skynyrd's "Free Bird"? You might just have this trope.
The entire sequence where Merlin sets off everyone's chips making the heads of every single one of Valentine's soldiers and/or allies explode in a row, each in a stream of colorful fireworks, and all to the tune of "Pomp and Circumstance".
Much of Machete's fun comes from this. At the very least the scenes in which Machete eviscerates one of the men sent to kill him and uses his intestines to swing from a window qualifies.
The Martian: Mark harvesting the crew's feces for fertilizer? Pretty awesome, in a rather undramatic way. Mark standing over a bucket with an earplug in each nostril, cursing out Johannssen for the smell of her bodily waste? Hilarious.
The video footage of the Hammerdroid's test malfunction (twisting around so fast it snaps the pilot's spine) evokes a That's Gotta Hurt gasp of sympathy from the audience. But Hammer's mealy-mouthed attempts to gloss over the failure by insisting that the pilot survived cross it back into a joke at his expense is quite funnier, as is his later statement that people are reluctant to volunteer to test them "for some reason." The entire scene also doubles as a Shout-Out to the RoboCop 2 scene with the failed experiments mentioned above.
Also, Tony's birthday party. "Iron Man, how do you go to the bathroom in that suit? ...just like that." Not funny. Giving an actual technobabble answer about filtration and being able to drink that? Now it's funny.
Rhodey suggesting infanticide by using the time machine to travel back in time to strangle baby Thanos somehow loops back to being hilarious thanks to his nonchalant and serious tone, pointing out it's Thanos. Bruce's horrified reaction makes it even more so.
Thor also dips into this trope a few times. Him having fallen into a deep depression because he failed to save the universe from Thanos is heartbreaking. Him delivering a snarling, graphically violent threat to a child over the phone for repeatedly killing Korg inFortnite is side-splittingly hilarious.
From Me, Myself & Irene: Accidentally running your car into a cow and deciding that the only option is to Mercy Kill it with your service pistol is pretty sad. Being forced to empty that pistol's entire clip into the cow, then running over it again because it refuses to die (and later learning that it survives anyway) is hilarious.
Mom and Dad Save the World has the Light Grenade, which is a horrifying prospect — when activated, it vaporizes any living thing that's in direct contact with it. It's spoken about the way one would expect for such a device. But it leaves their clothes behind, like something out of a cartoon. Made more hilarious in that the soldiers who encounter it all get flashed out of existence one by one as none of them can resist the instructions to "Pick Me Up" embossed on its surface, with the last calling in for more troops to investigate as he reaches for it.
The Black Knight scene in Monty Python and the Holy Grail. One severed limb is appalling; four severed limbs is hilarious (the second line in this case probably falls at three). In the Monty Python HBO interview special, they say that's exactly what they were going for. John Cleese said the scene would be heartless and sadistic if not for the fact that the knight shows no pain and doesn't really care what happens.
A number of good examples, like the "Every Sperm is Sacred" song. Lecturing children about the Catholic taboo against masturbation? That's not exactly funny. Singing about the evils of masturbation? Okay, that's pretty funny. Doing it in the form of a grand, cheerful, show-stopping, Broadway style Crowd Song, complete with an entire town of backup dancers and singers, and having the children's choir join in, complete with sweet, angelic choir-style vocals? Absolutely hilarious.
Also not to be forgotten is "Live Organ Transplants", which treats the viewer to a brutal first-person perspective of having their entrails removed while the attending "physicians" chat casually with the spouse; the only person at all horrified is the person being harvested, which dials up the funny even farther.
The gentleman's club in Mystery Team. Made funnier/worse by the fact that the people in question are practically seven (and they meet an ACTUAL seven year old).
The gory fight scenes in The Night Comes for Us land on this trope moment after moment after moment. Highlights include a villain realizing she's been gutted and continuing to fight with one hand while holding her intestines in with the other, Ito brutally beating down a gang of thugs with a bag of billiard balls and spraying blood all over the place, the butcher shop battle where one villain gets accidentally slashed in the mouth by his comrade and proceeds to fall to the floor and have his head crushed by a side of beef...
The Nutty Professor: "You know Mike Douglas used to make me moist when I'd watch his show?"
At some point, the title character, stuck in an elevator with Chinese and Nazi agents wanting to kill him, uses a string of anti-Asian racial slurs to force the Chinese to attack the laughing Nazis while he walks away from the elevator.
The film also has a nazi reciting Shylock's monologue in Shakespeare's Merchant of Venice to complain about Nazis always being the bad guys.
The ending of Penn & Teller Get Killed has Teller accidentally killing Penn Jilette, and is so (realistically) distraught at killing him shoots himself in the head in front of Penn's girlfriend. Her realistic inability to handle the tragedy causes her to spin in an anguished circle and toss herself out of the window. It crosses the line twice when this sets off an endless chain of suicides around the Earth as The Bee Gee's I Started a Joke plays (with the super apropos lyrics "I started a joke which started the whole world crying — but I didn't see that the joke was on me!" Penn explains in voice over that since the title of the movie was Penn & Teller Get Killed, people would feel ripped off if it wasn't Exactly What It Says on the Tin.
Just like the games, Postal deserves to be here. The tagline for the movie: "Some movies go too far... others start there"
This is why The Proposition's Jellon Lamb is such a delight, especially when he gets to lines like "What is an Irishman but a nigger turned inside out?"
Every single fight scene in the movie includes something horrifyingly violent done in such an over-the-top manner that it becomes hilarious. Picking out highlights is hard, but Ricky punching a hole in a fat man's belly, a guy's skull getting smashed like an eggshell, and the one guy trying to strangle Ricky using his own intestines stand out as Memorable Moments.
Not to mention the scene near the end where Riki pushes an oni into a meat grinder.
In RoboCop, the prototype ED-209 enforcement drone malfunctions during a demonstration in the OCP boardroom and rips a young exec apart with an extended and over-the-topheavy machine gun burst, while technicians desperately try to shut it down. Most of the censored versions cut this to a short burst, and make the scene look more clinical and horrifying. The original scene has the 209 continue firing for over 10 seconds, long after anyone could possibly have survived, just chewing up the body. The joke is further emphasized once the shooting is (finally) over someone shouts out to call a medic. Even more ironic is that this is what made it originally X-rated.
Played intentionally straight in RoboCop 2, in a scene that is even more disturbing (and hilarious), where two RoboCop 2 prototypes are rolled out. Out of the two prototypes that were taken all the way to a final showcasing, one went berserk and shot the scientists in the room before committing suicide, and one pulled off its own helmet, showing little more than a skull and some electronics before collapsing with an unearthly wail. The higher-up viewing videos of the aforementioned facepalms and mutters about the tremendous loss that the two failures represent: "Ninety million [dollars]."
An excellent example shows up in Schindler's List of all movies, where Amon Goeth tries to execute an old Jewish man for not working fast enough. He throws the guy down, points the gun at him, pulls the trigger — and his gun jams. Irritated, Goeth changes the magazine and tries again — it jams again. He hands it to his two lieutenants, and they try firing it — still jams. They try this about four more times. Eventually, one of the officers gives his gun to Goeth, and that gun also jams. Repeat process about twenty more times as Goeth grows increasingly irritated, all while a succession of young Jewish guys is running across the screen in the background carrying stolen furniture, visibly running faster when they spot Goeth trying to kill the guy, until eventually Goeth just smacks the guy with his pistol and leaves in a huff. It's hilarious. What makes it even better is that Luger guns really were that notoriously prone to jamming, and Spielberg included this scene to show that Goeth was actually incredibly lazy when it comes to caring for his own weapons.
Scream: Hotheaded Principal Himbry being gutted and hung from the goalpost on the football field? Not funny. Himbry's students eagerly abandoning a Wild Teen Party so they can see his body before the police take it down? Black Comedy galore.
Roger Ebert had an appreciation for this trope. As he said in his review of Shoot 'Em Upnote The quote was so appropriate, it spent a long period of time as the page quote for this trope.:
"I may disapprove of a movie for going too far, and yet have a sneaky regard for a movie that goes much, much farther than merely too far."
While not as strong an example as some of the others, in Star Trek there's a scene where Spock's mother falls over the edge of a cliff, making it impossible to beam her up to the Enterprise and thus killing her. The title for the part of the soundtrack from this scene? "I've Fallen and I Can't Beam Up!"
A New Hope: A fanon example that's not actually in the movie itself. In Facebook, there's some kind of meme that features pictures from various movies with a prompt "What's this movie's title? Comment with wrong answer only!" One of this pictures is the trash compactor scene from this movie, and one of the top comments is "What Carrie Fisher did in The '70s to get money for drugs."
The Empire Strikes Back: Any of the You Have Failed Me moments in this film qualify as this. On one hand, you'll feel disgusted or horrified with the executions. On another hand, you can't help but chuckle while thinking "Oh shit, I saw that coming."
Dusan Makavejev said that the point of Sweet Movie was to assault the viewer with a barrage of progressively more shocking images until they were finally reborn, like the characters in it.
Tin Cup. An interesting case, in which Roy keeps trying to get the ball in the hole on one shot over, and over, and over, and over. It goes from being painful, to pathetic, to hysterical, to finally (and unlikely!) triumphant.
Titanic has this in the final minutes before the ship sinks. The passengers tumble and fall from the stern with some even bouncing off obstacles such as gates. It's saddening and horrifying but you just can't help but laugh at times. The best known example of this is likely the propeller guy.
The shockumentaryTraces of Death has footage of a bear climbing a telephone pole, getting electrocuted, falling, then wrestling with animal control.
Read the blurb on Kirk Lazarus, played by Robert Downey Jr.: "An immensely talented Australian method actor, Lazarus had a controversial 'pigmentation alteration' surgery to darken his skin for his portrayal of the black character Sergeant Lincoln Osiris. Lazarus refuses to break character while filming and only speaks in his character's Black English." As a result Lazarus's lines would be horribly offensive, were he played by an actual black guy... but end up being hilarious because this wasn't the case.
There's also Simple Jack, an In-Universe movie starring Tugg Speedman (played by Ben Stiller) that parodies Oscar Bait films involving celebrities playing Inspirationally Disadvantaged people. It would come across as offensive if they didn't go all the way with it, giving us the immortal line "You went full retard, man. Never go full retard".
Waterworld has The Deacon's speech to The Mariner after they meet face-to-face on The Deez. For the movie's time, hearing a villain talk in such a casual way was hilarious, but with the word being so much more offensive by today's standards the line is so hilariously inappropriate and over-the-top that it's easily the best one in the movie:
Deacon: I thought you were stupid, friend, but I underestimated you. YOU'RE A TOTAL FREAKING RETARD!
Whiplash: Many, many of Fletcher's interactions with his students can make for this. He'll often call out his students on a mistake, and then compound on this by making fun of the student for either their nervousness or for a specific aspect about them, be it weight or their mother walking out on them.
The Big Bad of The Wizard of Speed and Time hires two thugs to run interference on the hero's attempts to complete his film. One is Mexican, one is Canadian, both of them are every respective stereotype for the cultures rolled up into a single person each and, as a result, they end up providing most of the film's best humor.
Wonder Woman: Ludendorff and Dr. Poison gassing the entire German high command and leaving them with only one gas mask? Horrifying. Ludendorff and Dr. Poison sharing a giggle because the gas mask is completely ineffective against the chemical weapon the men are trapped with? Hilarious.
In Yes-Man, Carl attempts to dissuade a suicidal man played by Luis Guzman from killing himself by singing Third Eye Blind's "Jumper", but forgets the words. What makes it funny is the suicidal man finishes singing the song.
Zazie dans le Métro somehow manages to turn a pedophile chasing a ten-year-old girl into something out of Looney Tunes.
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"OMFG THAT'S SO FUCKING RACIST!" and "OMFG I SHOULDN'T LAUGH BUT I CAN'T STOP!". Specially one that involves a bike...