BREAKING BOX- office records in New York and Los Angeles, Paul Provenza and Penn Jillette's extended riff on a joke that's a secret handshake of sorts in the stand-up world is cast-of-hundreds inclusive. Yet it's also uncomfortably skewed: A few Whoopi bits aside, Chris Rock is about the only nonwhite performer, and he's the only one who doesn't seem to be enjoying himself in the closing-credits outtakes. The Aristocrats can be uproarious, and there are off-the-cuff high jinks aplenty, from Rip Taylor's migrating red wig to Fred Willard's Victorian dandy impersonation. But why no Mo'nique, Wanda Sykes, or Dave Chapelle, when Carrot Top and Emo Phillips are allowed (if only for a few seconds) to stink up the screen? The absence is especially notable since Jillette repeatedly notes the joke's best renditions involve the type of improvisation mastered by John Coltrane. The title of The Aristocrats is also the punch line of an obscene joke – detailing a family's showbiz act, it has its roots in vaudeville, but you could easily argue it's indebted to the Marquis de Sade, who was all about detailing the perverse proclivities of the privileged classes. Of course, de Sade isn't as funny as Gilbert Gottfried, whose version at a roast for a leathery and discomfited Hugh Hefner inspired this doc. (Gottfried uncorked it in the wake of a very funny airplane remark that had offended the October 2001 audience of New Yorkers.) The best versions here come from unlikely suspects, such as Bob Saget, who relishes the opportunity to thoroughly despoil his Olsen Twins past. Other highlights include Taylor Negron's sleazy swinger's rendition, and Mario Cantone's take, which finds him impersonating Liza Minnelli in a fond remembrance of "Mama." Top honors, though, probably go to Sarah Silverman, who flips the whole script by adopting a first-person approach, crafting a recovered memory that's amusing and disturbing. (Johnny Ray Huston)