Coming to the 21st century, China encounters significant challenges as it pushes forward its social and economic development. How do the Chinese think about the problems incurred in this process? This paper chooses to investigate a “black horse” movie made in 2006, Crazy Stone, which became tremendously successful at the box-office. On its poster, “black humor” is tagged to the movie as a special feature. In this essay, I explore various expressions of black humor in the movie. I argue that Crazy Stone serves as a vehicle for cultural criticism of various aspects of contemporary Chinese society, such as the crisis in faith and credibility, the land ownership problem, improper treatment of the working class, abuse of traditional values, and people's general perplexity in regard to such changes. The paper traces black humor to ancient cynical Chinese novels as well as to its pervasive presence in post-Cultural Revolutionary works, such as cross-talk (a traditional arts show with critical tones), and Feng Xiaogang's movies of social criticism. Taken together, these models comprise a cultural context for the emergence of Crazy Stone. Yet black humor in American literature also serves as an immediate influence both on Crazy Stone and other cynical Chinese works rendered in a comic mode. I concluded my essay, with an analysis of Black Humor's immense popularity in contemporary Chinese media and films, which goes against the grain of the low status of humor in traditional Chinese philosophy, ancient thinking, and communist ideology.