Intellect and humor: a captivating concoction and the absolute fundamentals of any successful satire, regardless of genre or fictional embodiment. In recent times, cinema was bestowed with another fine addition to the satirical collection in the name of The Unbearable Weight of Massive Talent, a Nicolas Cage-led action-comedy that blurred the line between those two aforementioned fundamentals with its eccentric and often frantic pacing and general tone. Its self-satirical style is principally unique when placed alongside the more routinely explored forms of satirical contexts, such as political and cultural.

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Naturally, curiosity then unfolds for the more proactive viewer. As the credits roll, we may be left wondering which other satirical works of notability exist in the medium of cinema, and how might they compare? To judge a film with candor, however, is to do so purely on its own merits. As luck would have it, a number of fine examples exist out there to make such a task a lot easier.

'Get Out' (2017)Get Out

Jordan Peele's directorial debut, in which he also penned the screenplay, follows Chris (Daniel Kaluuya), a young African-American photographer who visits his white girlfriend's parent's house for the weekend. What ultimately unfolds is a masterclass in creating unease and tension, as Chris' visit escalates into outright absurdity amidst racial and violent conflict.

Peele's film succeeds in melding the inspired yet potentially troublesome medley of horror and black comedy. On a deeper and more primary level, however, the narrative operates most strikingly as a scathing satire that essentially dissects white cultural racism in America.

'American Psycho' (2000)Christian Bale as Patrick Bateman in American Psycho (2000)

American Psycho's hyperbolic use of violence largely works on an escalating scale and is one of the foremost reasons the film, as well as Brett Easton Ellis' original novel, is considered such a proactive commodity. Naturally, such a daunting representation is distasteful for the more sensitive viewer, but to engage the film as merely a nihilistic portrayal of violence would threaten to dismiss its engaging satire of yuppies and the ethical ambivalence required for a career on Wall Street.

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Chameleonic and overtly dedicated actor Christian Bale plays investment banking executive Patrick Bateman, in what was a breakout role for the gifted Welsh-born actor. Bateman's calculated and routinely applied lifestyle works to conceal an alternate, psychotic ego from his colleagues and friends, which, over the course of the film's gripping albeit disturbing narrative, begins to slip as he falls deeper into his violent and self-indulgent fantasies.

'Network' (1976)

Network

Sidney Lumet's admirably complex satirical drama, adapted from a screenplay by Paddy Chayefsky, is an unflinching commentary on the world of television news that holds up even now, some 46 years later. Network boldly critiques the lack of moral and ethical decency for the sake of ratings that exists in the news media, as a leading television network carelessly exploits a troubled former anchor's rants and ravings for its own profit.

Peter Finch stars as Howard Beale, alongside a cast of acutely defined caricatures, including that of Hollywood greats Robert Duvall and Faye Dunaway. The film is deftly clever in its portrayal of Beale, painting him as neither the hero nor the villain of the story. His now iconic "mad as hell" scene sends chills down your spine and, despite a wealth of misinterpretation in the time since, is still hugely relevant in regard to the problematic components of modern culture.

'Thank You For Smoking' (2006)

Nick Naylor smirking with a lighter in front of a US flag in Thank You For Smoking

Jason Reitman's feature debut is arguably the most plainly intentioned satire on this list, but that certainly doesn't make it any less effective. This sophisticated and stylish satirical comedy stars Aaron Eckhart as Nick Naylor, a lobbyist and chief spokesman who spins on behalf of Big Tobacco, all while trying to remain a role model for his 12-year-old son.

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Despite the ethically questionable identity of Naylor's vocation, Eckhart's performance is enchanting enough to procure a feeling of favor from the audience, almost. Naturally, the films most direct criticism revolves around the mortality rates induced by the tobacco industry. Under the surface, however, the film is more so a satire of spin, and the prominently influential role it plays in the biggest industries and sectors of America.

'Dr. Strangelove, or: How I Learned to Stop Worrying and Love the Bomb' (1964)

The war room from Dr Strangelove

No exploration of film-related satire would be complete without the mention of this cinematic gem. With its frivolous and often slapstick-like comedic moments, Stanley Kubrick's masterfully funny political satire has cemented itself as an eternal figure in American film history. In an enigmatic model of set design, the narrative largely takes place in a war room full of politicians and generals, desperately trying to prevent a bombing of the Soviet Union, ordered by an insane American general.

Intriguingly, the provocative and often controversial filmmaker initially began work on this innovative picture as a serious exploration of Cold War politics and the troubling ideology that comes with collectively garnered annihilation. He would, however, quickly judge the film's context as wholly absurd, tweaking the narrative into a satire on the frightful absurdity of international politics.

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