Best Horror Comedies of 1989
- HaHa Jokester
- May 30
- 9 min read
Updated: Jun 20
1989 was a fitting sendoff to a decade that embraced the weird, wild, and wonderfully ridiculous. Horror comedy had come into its own by this point—fully self-aware, endlessly inventive, and more than a little unhinged. As the ’80s wrapped up, filmmakers leaned hard into grotesque gags, B-movie homages, and surreal excess, delivering one last burst of blood-soaked laughs before horror got “serious” again in the ’90s. This was the year nothing was off limits—and that was the joke.
The Horror Comedy Landscape in 1989
Genre Burnout Becomes the Punchline
After years of slashers, monsters, and mutants, horror comedies in ’89 gleefully poked fun at horror itself—playing with tropes, reversing expectations, and diving into full-blown absurdity.
Surrealism Meets Splatstick
Practical effects hit maximum weirdness this year, with melting bodies, talking heads, and grotesque transformations all played for laughs.
Straight-to-Video Cult Hits Flourish
Many of 1989’s horror comedies didn’t light up the box office—but they owned the video store shelves, becoming sleepover staples and cult classics.
Top 10 Horror Comedies of 1989
Society
Runtime: 1hr 39min
Brian Yuzna’s gooey satire of upper-class excess plays like The Twilight Zone on acid. It’s grotesque, hilarious, and unforgettable—especially the “shunting” finale.
Society (1989), directed by Brian Yuzna, is a surreal, body-horror-laced satire that skewers the wealthy elite and class divisions through grotesque and unforgettable imagery. The film follows teenager Bill Whitney, a well-off Beverly Hills high schooler who begins to suspect that his affluent family and social circle are hiding something sinister. As paranoia builds, he uncovers a conspiracy more monstrous than he imagined—culminating in a nightmarish "shunting" ritual that blends Cronenberg-style mutation with biting social commentary. Blending camp, horror, and surrealism, Society is a cult classic that turns the idea of "the upper class feeding on the lower" into literal, oozing horror.
Warlock
Runtime: 1hr 43min
More fantasy-horror than straight comedy, but Julian Sands’ performance as a snarky time-traveling warlock brings a darkly funny charm to the spell-slinging slaughter.
Warlock (1989), directed by Steve Miner, is a dark fantasy horror film that blends supernatural thrills with time-traveling adventure. The story follows a 17th-century warlock (Julian Sands) who escapes execution by leaping forward to 1980s Los Angeles, where he seeks the Grand Grimoire—a powerful book that could unmake creation itself. Hot on his trail are a witch-hunter (Richard E. Grant) and a modern-day woman caught in the crossfire. With its blend of black magic, clever visual effects, and sly humor, Warlock stands out as a uniquely stylish entry in late-'80s horror, balancing eerie atmosphere with a surprisingly charismatic villain at its core.
Parents
Runtime: 1hr 21min
A pitch-black suburban nightmare about a boy who suspects his parents are cannibals. It’s retro, disturbing, and laced with deadpan humor.
Parents (1989), directed by Bob Balaban, is a pitch-black suburban satire disguised as a coming-of-age horror film. Set in 1950s America, it follows a young boy named Michael who grows increasingly suspicious that his seemingly perfect, all-American parents (played by Randy Quaid and Mary Beth Hurt) might be hiding a grotesque secret—namely, that they’re cannibals. Told through the lens of a child's confusion and fear, the film blends eerie surrealism with macabre humor, creating a deeply unsettling atmosphere beneath its pastel-colored veneer. Parents is a cult gem that explores the horrors lurking behind domestic normalcy, where dinner might just be more sinister than it seems.
Intruder
Runtime: 1hr 28min
A late-night grocery store becomes a blood-splattered playground. Not overtly comedic, but its wild kills and over-the-top style give it an unintentionally funny energy.
Intruder (1989), directed by Scott Spiegel, is a gritty, gore-soaked slasher set almost entirely within the eerie confines of a closing supermarket. When the night crew is locked in for inventory, they soon find themselves stalked by a mysterious killer who picks them off in increasingly brutal and creative ways using store equipment. Known for its inventive camerawork, practical effects, and over-the-top kills—courtesy of the KNB FX team—Intruder delivers classic ’80s slasher thrills with a self-aware, almost tongue-in-cheek tone. Featuring brief appearances by Sam and Ted Raimi, the film has since earned cult status for its claustrophobic setting, grisly suspense, and blood-drenched finale.
Puppet Master
Runtime: 1hr 30min
Creepy puppets go rogue in a campy mix of horror and dark fantasy. While it spawned many sequels, the original has a playful, bizarre tone that straddles the line between scares and laughs.
Puppet Master (1989), directed by David Schmoeller, is a supernatural horror film that launched a long-running cult franchise centered around a sinister troupe of killer puppets. The story follows a group of psychics who gather at a creepy hotel to investigate the mysterious death of a colleague, only to encounter a series of deadly, animated puppets—each with its own gruesome method of murder. Created by a long-dead puppet master who discovered an ancient secret for giving life to inanimate objects, the tiny terrors include fan favorites like Blade, Tunneler, and Leech Woman. Combining occult themes, eerie atmosphere, and imaginative practical effects, Puppet Master became a VHS-era favorite and a cornerstone of Full Moon Features' legacy.
Meet the Feebles
Runtime: 1hr 34min
Peter Jackson’s ultra-raunchy puppet horror comedy makes Avenue Q look like Sesame Street. Grotesque, offensive, and hilariously depraved.
Meet the Feebles (1989), directed by Peter Jackson, is a deranged, puppet-filled black comedy that brutally parodies the wholesome charm of shows like The Muppets. Set behind the scenes of a variety show, the film exposes the depraved lives of its anthropomorphic puppet cast—complete with drug addiction, sex scandals, crime, and murder. As the production spirals into chaos, the line between performance and reality collapses in an explosive finale. Filthy, gleefully offensive, and wildly imaginative, Meet the Feebles showcases Jackson’s early flair for grotesque humor and anarchic storytelling. It’s a cult classic that uses felt and foam to skewer fame, corruption, and the entertainment industry itself.
Dr. Caligari
Runtime: 1hr 20min
A surrealist sequel/reimagining of the 1920 classic, this ultra-stylized oddity mixes horror, sexuality, and deadpan absurdity into one of the strangest genre experiments ever made.
Dr. Caligari (1989), directed by Stephen Sayadian, is a surreal, erotic horror experiment that reimagines the legacy of German Expressionist cinema through a bold, neon-soaked lens. A loose sequel to the 1920 silent classic The Cabinet of Dr. Caligari, this film follows the granddaughter of the original Dr. Caligari as she conducts bizarre psychiatric experiments in her asylum, exploring themes of identity, madness, and desire. With its highly stylized sets, angular visuals, and deliberately artificial performances, the film feels like a fever dream—part art installation, part psychosexual satire. Dr. Caligari is a cult oddity that pushes boundaries, blending horror, performance art, and avant-garde aesthetics into a wholly unique cinematic experience.
The Horror Show (a.k.a. House III)
Runtime: 1hr 35min
Often overlooked, this ghost-revenge flick goes so over-the-top with its premise and effects that it lands in horror-comedy territory almost by accident.
The Horror Show (1989), also known as House III: The Horror Show, is a brutal, supernatural slasher that veers into darker territory than its predecessors in the House franchise. Directed by James Isaac and produced by Sean S. Cunningham, the film stars Lance Henriksen as a tough-as-nails detective haunted by the vengeful spirit of "Meat Cleaver Max" Jenkins, a sadistic serial killer he helped execute. But death isn’t the end—Max returns from the electric chair as a malevolent force, tormenting the detective and his family with hallucinations, gruesome visions, and reality-warping violence. More intense and grim than the earlier House films, The Horror Show leans into psychological horror and splatter, blending A Nightmare on Elm Street-style surrealism with gritty revenge thriller energy.
Dead Calm (darkly comic thriller elements)
Runtime: 1hr 36min
While mostly a thriller, its moments of ironic tension and twisted reversals earn it a nod in the black comedy zone of horror.
Dead Calm (1989), directed by Phillip Noyce, is a tense psychological thriller with horror undertones, set almost entirely at sea. The film stars Nicole Kidman and Sam Neill as a grieving couple seeking peace aboard their yacht in the middle of the Pacific—only to rescue a mysterious young man (played with chilling charm by Billy Zane) from a sinking schooner. What begins as a rescue turns into a nightmare as the couple realizes their guest is not who he claims to be. With minimal dialogue, claustrophobic tension, and a slow-burn sense of dread, Dead Calm explores isolation, vulnerability, and survival. It’s a sleek, suspenseful film that helped launch Nicole Kidman’s international career and remains a standout example of ocean-bound horror-thrillers.
Pledge Night
Runtime: 1hr 26min
A frat house gets haunted by the ghost of a hazed pledge, who returns with acid vomit, demonic powers, and a grudge. Gory, juvenile, and oddly watchable.
Pledge Night (1989) is a campy, gore-soaked horror comedy that blends slasher tropes with college hazing satire. Set during a fraternity's brutal Hell Week, the film follows a group of pledges enduring increasingly sadistic pranks—until the spirit of a long-dead pledge named Sid, who died in a hazing accident years earlier, returns to exact revenge. As the ghostly killer picks off frat brothers in gruesome and often absurd ways, the film leans heavily into over-the-top kills and punk rock attitude (even featuring music by the band Anthrax). Pledge Night is pure late-’80s schlock—low-budget, outrageous, and proud of its rebellious, anti-fraternity streak. It's a cult curio that embraces both splatstick horror and dark campus humor.
Underrated Picks Worth Your Time
Blood Salvage
Runtime: 1hr 38min
A redneck family harvests body parts with Southern charm and a twisted sense of humor.
Blood Salvage (1989), directed by Tucker Johnston, is a twisted, backwoods horror comedy that mixes Southern gothic atmosphere with grotesque dark humor. The film centers on a deranged religious fanatic and amateur surgeon named Jake Pruitt (played by Danny Nelson), who runs a roadside tow truck operation with his two sons. They don't just rescue stranded motorists—they kidnap them and harvest their organs to sell on the black market, all while claiming it's God's work. Things get complicated when they abduct a wheelchair-bound beauty pageant contestant whose family fights back. With its offbeat tone, eccentric characters, and gruesome set pieces, Blood Salvage delivers grindhouse energy and cult appeal, offering a nasty slice of Southern-fried splatter with a wink and a scalpel.
Death Spa
Runtime: 1hr 28min
A haunted gym, ghostly revenge, and fitness-themed kills—pure neon camp.
Death Spa (1989) is a neon-lit, techno-horror oddity that blends fitness craze satire with supernatural slasher madness. Set in a high-tech health club, the film follows a series of bizarre and increasingly deadly accidents befalling gym-goers—electrocutions, exploding lockers, and melting flesh—suggesting something sinister is at work beneath the gleaming surfaces and computer-controlled workouts. As the club’s owner investigates, he uncovers a vengeful ghost tied to a tragic past and a malfunctioning AI system that’s out for blood. With its pulsating synth score, flashy visuals, and outrageous death scenes, Death Spa is a gloriously over-the-top cult classic that captures the excess and absurdity of the late ’80s in all its sweaty, haunted glory.
I, Madman
Runtime: 1hr 29min
A serious tone, but the concept of a pulp horror novel villain coming to life and murdering people has an inherently meta, playful edge.
I, Madman (1989), directed by Tibor Takács, is a stylish blend of psychological horror and metafictional mystery. The story follows Virginia, a Los Angeles bookstore clerk and horror fan who becomes obsessed with a pulp novel about a deranged, disfigured killer. As she dives deeper into the book, the line between fiction and reality blurs—especially when people around her begin dying in ways that mirror the story. It turns out the novel’s villain, Dr. Kessler, may have stepped off the page and into the real world. With moody cinematography, practical effects, and a strong performance by Jenny Wright, I, Madman is a moody, underappreciated gem that explores obsession, imagination, and the terrifying power of storytelling.
Horror Highlights & Trivia
Brian Yuzna Gets Weird: Society marked his directorial debut and cemented his place as the king of body horror with a wink.
Peter Jackson’s Rise: Meet the Feebles proved that Jackson could combine chaos, horror, and humor with unmatched audacity—foreshadowing Dead Alive.
The VHS Boom: Titles like Puppet Master and Intruder found their audiences on video shelves, becoming underground legends.
Where to Watch These Today
Streaming:
Society – Fubo TV
Puppet Master – Tubi, Pluto TV
Parents – Tubi, Prime
Meet the Feebles – Rare online via fan uploads or imports
Intruder – Tubi, Shudder
Physical Media:Arrow Video, Vinegar Syndrome, and Full Moon have excellent releases of Society, Intruder, and Puppet Master—often with behind-the-scenes insanity included.
Closing Thoughts
1989 was the last gasp of ’80s horror comedy—and it went out with a bang. Weird, nasty, self-aware, and unapologetically gross, these films didn’t care about mainstream approval. They were here to shock, amuse, and disturb—often at the same time.
As horror headed into the more polished (and self-conscious) ’90s, 1989 remained proudly chaotic, serving as the perfect punk-rock curtain call for a decade of genre madness.
