Below is an archive of capsule reviews of comedy movies, previously published on our comedy guide pages and written by Rory Doherty.
20th Century Women (2016)
Mike Mills (Beginners, C’mon C’mon) has made a name for himself in gentle, bumbling dramedies that end up moving you to tears, and a powerhouse cast of female stars makes this one of his best. Annette Benning, Greta Gerwig, and Elle Fanning lead a teenager reflecting on freedom and expression in 70s California; this indie is bound to keep a smile on your face even as you tear up.
(500) Days of Summer (2009)
Like other films on this list, this comedy was super important to the demographic it catered to—but still holds up as an inventive and human subversion of romantic comedies. You can debate who the real villain of this film is meant to be (hint: it’s neither), but the true skill of Marc Webb’s direction is making his lead Manic Pixie Dream Girl/Boy relationship rich with humanity and emotional perceptiveness. It’s energetic, sweet, and incredibly amusing.
Airplane! (1980)
It’s so puzzling how this incredibly stupid film has remained iconic for so long (40+ years), and even more perplexing that it’s still very funny. The Zucker brothers’ policy of throwing as many high-concept, deranged jokes at the audience pays off in spades as it parodies a genre of film that doesn’t exist anymore, and the lack of context the jokes need lends itself to being highly quotable and super accessible. Not everything’s aged well, but what works still kills.
Alan Partridge: Alpha Papa (2013)
The history of British sitcoms transitioning to the big screen is, err, mixed. But if anyone was to break the pitiful tradition, it’s Steve Coogan and his brilliant lightweight entertainment king Alan Partridge. Alpha Papa riffs on hostage movies when an irrelevant curmudgeon of a radio presenter goes postal, leaving Partridge as the only one who can stand in the way. Imagine if Richard Madeley had to defuse a bomb, that’s the level of tension and comedy that Alpha Papa wrangles out of its brilliant premise.
Amélie (2001)
As cutesy and zany as they come, the bubbly protagonist of Amélie remains the quintessential cinematic manic-pixie-dream-girl. Celebrated French weirdo Jean-Pierre Jeunet took a sweet look at Parisian life in his film about a curious, clumsy waitress exploring the world with an active imagination, and it’s bound to win over your heart and give you plenty of chuckles along the way.
Angus, Thongs, and Perfect Snogging (2008)
A perfect slice of 2000s cheese (extra-fermented), this female-directed adaptation of a wildly popular teen novel deserves a place in the coming-of-age Hall of Fame. Never has the cringe of 2000s Britain been so hilariously put to film, as picturesque Brighton becomes a battlefield for attractive London boy approval and toxic friendship circles. Gurinder Chadha makes no compromises in translating the hyper-specific language and style to a wider audience, leaving us 15 years on with a hilarious time capsule.
Away We Go (2009)
Before his two Bond films and a WW1 epic, British theatre legend Sam Mendes had a go at an easy-going dramedy about a couple (the eternal Maya Rudolph and John Krasinski) who have fallen pregnant, but don’t know where to raise their kid. In a series of escalating episodes, they explore the US and reconnect with a bunch of esteemed character actors; the humour always pleasant and the reflections often poignant. An outlier in Mendes’ career, but a welcome one.
Baby Done (2020)
Wait, Rose Matafeo and Neville Longbottom?! Calling him that does a disservice to Matthew Lewis, who brings his all to match the Kiwi comedian’s boundless performance energy, which she’d later refine in BBC’s Starstruck. Here, the pair are an adventurous couple (with a thriving arborist business) who start to question how much of their lifestyle they’re willing to give up when they fall pregnant. It’s a pleasant, off-kilter New Zealand comedy, and a key moment in Matafeo’s acting journey.
Barb and Star go to Vista Del Mar (2020)
Outside The Blues Brothers and Wayne’s World, the SNL movie has a deserved bad name, as three-minute sketches don’t translate seamlessly to 90 minute features. Most of the time, at least. Kristen Wiig and her writing partner Annie Mulomo get embroiled in international espionage as they try to enjoy a kitschy resort holiday. Musical numbers, silly jokes, and a breakout comedic turn from Fifty Shades’ Jamie Dornan makes this a charming oddity and an outright blast.
Bill & Ted’s Excellent Adventure (1989)
A prime example of seeing how far you can get on goofiness alone, Excellent Adventure grew from two inside jokes on SoCal living into harebrained, low-budget comedy filled with painfully silly gags and a whole lot of charm. Keanu Reeves has never emoted this much in his career, probably thanks to his enviable scene partner Alex Winter. You’re either on for the ride or not, but for those who take a shine to Bill and Ted, there’s so much to love.
In the late 80s, teen films started to get looser, sillier, and more anarchic—an omen of how off-the-chain they’d get in the 90s. The first, and best, outing of Southern Californian best friends Bill and Ted has them misusing time travel to avoid flunking their history class. Alex Winter and Keanu Reeves’ excellent chemistry is bolstered by a whole host of historical figures playing it straight around them—well, as straight as you can in a Bill & Ted movie.
The Birdcage (1996)
Hollywood legend Mike Nichols hit gold for the dozenth time in his career with this queer farce that starred Robin Williams and Nathan Lake as two gay owners of a drag bar who pretend to be straight to make nice with their son’s right-wing parents (Gene Hackman and Dianne West). As you could guess even from just that combination of actors, no-one can keep their composure and hilarity ensues—a reminder of Williams and Lane’s mastery of the farcical form.
The Breakfast Club (1985)
What do you get if you force a nerd, a jock, a princess, a basket case, and a criminal to spend a day together? One of the best high school movies of all time. John Hughes’ most iconic coming-of-age film found endless humour in seeing how these teenage archetypes try and project coolness, before letting everyone’s defences slip away so they can connect over their shared hardships. A refreshingly honest and completely disarming throwback comedy.
Bridesmaids (2011)
SNL writing partners Kristen Wiig and Annie Mumolo penned this smash-hit film about an infighting, self-destructive bridal party, and even though Mumolo wouldn’t act alongside Wiig until their very silly character comedy Barb and Star Go to Vista Del Mar, her efforts on Bridesmaids still got her nominated for an Oscar! It’s difficult to pick a standout performance in this riotous, all-female ensemble, with Wiig, Rose Byrne, and Melissa McCarthy all taking the top spot at various points.
Bulworth (1998)
Bizarre and bizarrely before-its-time, Warren Beatty directed and starred in this political satire two decades before the Trump era’s pop-culture courting antics and disastrous address of racial conflict. Beatty’s rapping, self-loathing senator is so breathtakingly daggy, which only adds to the movie’s appeal all these years later. Hell, I’d vote for Bulworth—if the assassin he’s hired to take himself out doesn’t succeed.
Clerks (1994)
The 1990s saw a brilliant new wave of independent cinema storming Hollywood, but it’s important to note that the big hits weren’t just quirky dramas—broad comedies made a splash too. No conversation of 90s indie movies is complete without including Clerks, the foul-mouthed “hang-out” movie filled with vulgarity, pop culture references, and incredibly poor customer service. Kevin Smith never properly recaptured what made his debut so special, but its shine has never faded.
Clueless (1995)
It’s universally agreed that there should be more modern adaptations of classic literature, and credit has to go to this mid-90s pop culture time capsule that adapted Jane Austen’s Emma for the tween crowd. It’s one of these films that must have been dated two minutes after it was released, or perhaps was too heightened in its contemporary style and dialogue to ever authentically capture what high school Californian life was like in 1995. Regardless, Clueless is iconic for all the right reasons, putting a sweet, silly spin on the story of a relationship meddler.
The Devil Wears Prada (2006)
Just as golden as the day it was first released, this fashion rom-com understands how willing audiences are to bask in Meryl Streep’s never-dimming glow. Playing an understated but completely terrifying fashion editor, every word out of her mouth is iconic—but it’s great that the rest of the characters and dialogue is just as sharp too. It’s nearly impossible to resist the allure of such a hilarious and compelling ride through the elevated world of elite fashion.
Dodgeball (2004)
Early 2000s comedies of this ilk were defined by their slight storytelling and insistence on really stupid humour. This Vince Vaughn/Ben Stiller joint about competitive dodgeball has all the hallmarks of a goofy, half-improvised comedy, packed with silliness, quotable lines, and last minute forced sentimentality. It’s a throwback to when movies like this could rule the box office, but with so many laugh-out-loud moments (and the best wrench throw in cinema), it’s still unapologetically very funny.
Drunk Bus (2020)
Being the designated driver has never felt so punishing as it does in this late-bloomer indie ride, where a college employee has to guide home all the drunk students who need a lift back to campus. His punk Samoan security guard makes for an unlikely friend, and his interactions with waves of wasted youth soon makes him confront the stagnation of his life and drive on towards a better horizon. It’s weird, bleak, and heartwarming in equal measure.
Easy A (2010)
Will Gluck made a name for himself directing playful, snarky send-ups of beloved genres, and this sex-positive, fierce retort to slut-shaming was Emma Stone’s first lead role. When the high school rumour mill spins out of control and Olive (Stone) is branded as shamefully promiscuous, she takes a letter out of The Scarlet Letter and reclaims the derogatory term to something empowering. It’s laugh out loud funny and cares a lot about its characters, showing a smart script and a great lead performance are the perfect match for a winning comedy.
The Edge of Seventeen (2016)
Before she took a trip back to 70s suburbia with the relentlessly charming Are You There God? It’s Me, Margaret, director Kelly Fremon Craig looked at a different coming-of-age transition point in growing up, but with a 16-year-old about to hit young adulthood. Hailee Steinfeld gives a remarkable performance as a teenager who struggles to not sacrifice too much of her goofy warmth as she’s bothered by gendered sexual dynamics, alongside Woody Harrelson as a perfect grumpy but kind teacher.
Election (1999)
Not enough high school comedies focus on teachers who hate kids, and if they do, they’re not often the protagonist of the film. But with its 4 competing voiceover narrations, this black comedy about Matthew Broderick trying to sabotage the stuck-up teacher’s pet (Reese Witherspoon) from being elected to student council makes for a great descent into obsession and vindictiveness. Alexander Payne would lean harder into drama in later films, but his big break here is one of his finest.
Everything Everywhere All At Once (2022)
We’ll hopefully soon see a repeat of the good ol’ days when the funniest movie of the year got nominated for Best Picture. Endlessly sincere while being blatantly outrageous, this reality-jumping epic comedy features all-timer performances from several iconic Asian-American actors, finding inventive ways to explore difficult family dynamics and make you squeal with glee. Slapstick, visuals gags, and stupid jokes—there’s no type of humour this film doesn’t visit in its two-hour plus runtime.
Ferris Bueller’s Day Off (1986)
The strongest and most confident of John Hughes’ films, this love-letter to truancy and adolescent restlessness is filled with startlingly gentle moments amongst the pitch-perfect comedic performances of the ensemble. All the high school actors give the energy of seasoned pros (probably due to them largely being in their 20s), and Hughes pulls off his coming-of-age classic with grace and warmth.
Forgetting Sarah Marshall (2008)
How I Met Your Mother had been on the air a couple years before sitcom actor Jason Segel wrote and starred in this landmark 2000s comedy about a musician chasing his ex to a holiday resort to try and win her back. The film is packed with standout comic actors doing “little bits”, like Paul Rudd, Russell Brand, and Jonah Hill, but it’s the genuinely compelling romcom storyline that elevates the countless gags.
Friends with Benefits (2011)
Sometimes, romcom casting just lucks out, and pairing Justin Timberlake and Mila Kunis was a terrific win for this casual sex romcom (listen, it was 2011, everyone loved them). Will Gluck (Easy A) keeps the banter flowing and the gags frequent, and its treatment of no strings attached sex still feels bracing for a studio comedy in 2011. It may know how to crack jokes better than writing affecting drama, but Friends with Benefits is still worth a try.
The Goonies (1985)
As Oscar buzz builds for Ke Huy Quan in Everything Everywhere, why not revisit one of his only other Hollywood movie credits—as the tech wizard in this rambunctious kid adventure throwback. Sean Astin, Corey Feldman and Josh Brolin all give very early performances as loveable, rough-around-the-edges scamps who, as we all did as kids, must find secret buried pirate treasure. It’s crude, larger-than-life, and impossibly charming fun.
The Grand Budapest Hotel (2014)
The epitome of Wes Anderson’s ever-expanding, pristine creative powers, this story of fascism creeping into the corners of a prestigious mountain hotel boasts a world-class and BAFTA-nominated turn from Ralph Fiennes as the concierge. Slapstick, comic framing, witticisms; every type of gag is packed into this film, not to mention the extensive amount of bit-parts and cameos to make you giggle. It’s often cited as Anderson’s finest film, and it’s undoubtedly one of his funniest.
Gremlins (1984)
I hope you like yuletide cackling, because Joe Dante’s creature-feature is full of it. What starts as a satiric look at Reagan’s Christmas descends into a cavalcade of ingenuous special effects and juvenile humour that will have you shrieking with glee more than from fear. With a Chris Columbus script, the jokes are sharp and the characters are loveable, and combined with Steven Spielberg’s producorial influence, Gremlins has so much giddy and adorable joy that it’s hard not to love.
Gremlins 2: The New Batch (1990)
Gone are the days where filmmakers had carte blanche to make a sequel that’s this certifiably unhinged. Leaning into the demonic comedy of the pint-sized critters, Joe Dante turned his satirical gaze to corporate America and let his creations loose in a Manhattan skyscraper where he could riff on his formative horror loves while also getting really freaky with his Gremlin designs. The New Batch makes Gremlins’ carnage look like light mischief, and has a blast pulling it off.
The Guard (2011)
What’s better than one McDonagh filmmaker? Two of them! John Michael McDonagh, Martin’s brother, made an abrasive and unquestionably Irish comedy with this buddy cop film, pairing a bigoted, crooked Gardaí officer (Brendan Gleeson) with a fish-out-of-water, straight-and-narrow member of the FBI (Donald Gleeson). It may not sail to the emotional highs you get from his brother’s work, but John Michael proves talent runs in the family with a dark comedy that’s a cut above similar small town crime fare.
Hail, Caesar! (2016)
A profoundly silly movie that always feels finely crafted, the Coen brothers cast their irreverent eye to the messy behind-the-scenes of the 50s studio system, where simple-minded leads and communist plotters try to ruin the day of one abrasive fixer. Lots of wonderful vignettes to behold, as it matches its oddball, eccentric humour with well-defined, engaging characters.
Hairspray (2007)
This year’s Matilda marks another film that people confuse for a remake, but is in fact a film adaptation of a stage musical that adapted the original film/book (See? Not that complicated at all!). Once you’ve sorted out all that explaining, you can fully enjoy the film version of Harvey Fierstein’s musical of John Waters’ 60s Baltimore teenage tale. An all-star cast of people having the time of their life, its light, boppy take on historical issues mixed with tremendously catchy songs marks it as one of the best films of a stage musical. Warning: don’t try to stop the beat, you just can’t.
Happy Gilmore (1996)
We’re thankfully climbing out of our Adam Sandler hate-phase, but back in the Jack and Jill era, everyone defended the much-lambasted comic by arguing that there was at least one film of his they think is unabashedly good. To me, that film is Happy Gilmore. Not the only time a Sandler character has had exaggerated anger management issues (seeing as how his comedy was, for a while, just yelling), this golf tournament caper has all the ludicrous scenes, comical screaming, and brash sentimentality needed for a classic Sandler good time.
Harold and Maude (1971)
One of the most beloved unlikely romances of all time, here’s Hal Ashby’s iconic pairing of a despondent and morbid 19-year-old and a 79-year-old who instils in him a love for life’s virtues. It didn’t turn a profit until 12 years after its initial release, but this black comedy’s embracing of the unlikely and unusual sets it apart from most films of the period, and still makes for an entertaining and affecting watch.
Hot Rod (2007)
The Lonely Island may be best known for their musical sketch work, but it hasn’t stopped them venturing into non-musical comedic territory as well. Hot Rod centres on a jaded, obnoxious slacker (Andy Sandberg, the best in the biz at playing man-children) whose bizarre group of friends and girl next door crush rally around him to help him do a dangerous stunt to prove his worth to his ailing, abusive stepfather. It takes a lot of laughs to get there.
I Love You, Man (2009)
The slacker comedy wasn’t invented in the 2000’s, but it was then that it enjoyed a hearty decade-long run in big-name studio comedies. No-one slacks like Jason Segel (he would adopt the mantle again in Forgetting Sarah Marshall and the indie Jeff Who Lives at Home), and he makes the perfect partner for Paul Rudd’s soon-to-be groom with 0 male friends. People who don’t know how to express their feelings without finishing their sentences with “man!” make for great cinema.
In Bruges (2008)
Irish playwright Martin McDonagh had been making a sizeable impact in the theatre world before, off the back of an Oscar win for Best Short film, he dropped this comedy-thriller that’s bracing in every sense of the word. Two foul-mouthed hitmen (a never-better duo of Colin Farrell and Brendan Gleeson) are sent to the purgatory that is Bruges, Belgium (contrary to one of the hitmen’s judgement, I’ve heard the town is lovely). Those expecting a straight comedy will be surprised by McDonagh’s trademark foul-mouthed existentialism, and fans of his plays will be satisfied at his faultless leap to the big screen.
The Intouchables (2011)
A crowd-pleasing French favourite, this winning comedy dramatises the friendship between a wealthy parapelegic man and his Black carer from the Parisian projects. What sounds like a French version of Driving Miss Daisy is elevated by sublime performances from François Cluzet and Omar Sy, giving a heartwarming and hilarious insight into two starkly contrasting life experiences.
John Tucker Must Die (2006)
It’s tough to pinpoint what makes this aggressively 2000s high school comedy so winning; the characters aren’t well-written, the jokes are reliably obvious, and there’s very little drama to engage with. But somehow, John Tucker Must Die wins you over, as the plot to ruin a heartbreaking jock becomes increasingly outrageous to the point of ludicrousy. A lot of credit goes to Brittany Snow’s lead performance, and enjoy spotting all the 2000s celebs who deserve big comebacks.
Juno (2008)
Some films enjoy a lasting memory because of the specific vibe of their soundtrack, and while Juno’s indie rock/bops should be exalted forevermore, thankfully the film itself is still a winning watch. The gentle, awkward comedy of Elliot Page and Michael Cera was iconic, but the parent performances too show a great range of nuance and comedic chops. Director Jason Reitman solidified himself as a thoughtful dramedy director, but Diablo Cody’s Oscar-winning script marked the writer as someone to watch.
Kung Fu Hustle (2004)
Stephen Chow is a megahit in his home of Hong Kong and severely undervalued everywhere else. Kung Fu Hustle remains his strongest work, a ludicrous display of martial arts madness dynamically filmed and performed marvellously. Its exceedingly choreographed slapstick and kung fu set-pieces (chaotic knife throwing and flurrying foot stomps immediately come to mind) are an example of giddying creativity that is missing from a lot of Western comedy.
Legally Blonde (2001)
A sharp legal comedy, a brilliant chick-flick, and with a world-class central performance from Reese Witherspoon, Legally Blonde is quotable, rewatchable, and inimitable. Cross-examining a witness has never been so satisfying, and Elle Woods’ journey to discovering career fulfilment is a compelling arc to watch amidst all the jokes.
Licorice Pizza (2022)
Even if his previous, more dramatic work was filled with silliness and humour, Paul Thomas Anderson’s shift to California slacker comedy felt very abrupt. Two unlikely stars, the late Philip Seymour Hoffman’s son, Cooper, and the youngest Haim sister, Alana, get embroiled in all sorts of shaggy-dog hustles and wacky hijinks, as the has-beens, go-getters, and A-listers they meet define life in 70s San Fernando Valley. PTA is a comedic master, and makes the most complex character comedy feel effortless.
Little Miss Sunshine (2006)
There’s dysfunctional families and then there’s whatever this is. This Oscar-winning road-trip film about misfit relatives driving across America for a child beauty pageant combines often put-upon straight-men/women with specific ridiculous turns from cast members of all ages and experiences. As the comedy shifts to drama, we realise the toll that all the hijinks have had on the family unit, and what the foul-mouthed banter was covering up for the more wounded passengers.
Little Shop of Horrors (1986)
One of the finest musical-to-screen adaptations, this 80s delight balances cheese and nastiness with some still-impressive oversized puppetwork and a roster of pitch perfect Howard Ashman and Alan Menken songs. It’s hard to pin down what’s best about Little Shop of Horrors—its barbed dialogue, the oh-so-clever music, or the boldly realised performances from Rick Moranis, Ellen Greene, and Levi Stubbs (lending his voice to a giant man-eating plant). Regardless, it’s all iconic and hilarious.
Logan Lucky (2017)
Adam Driver, Channing Tatum, Daniel Craig—three serious actors who directors have realised are hysterically funny. Steven Soderbergh had the bright idea of casting them all as hicks in his lo-fi heist caper. Ditching the glitz and glam of Vegas casinos for the dust and dirt of West Virginia, where prison breaks are not done with sleight of hand and dumb luck does a lot of the heavy lifting. Craig’s madcap Southerner no doubt laid the groundwork for his turns in Knives Out.
Love, Actually (2003)
It unleashed a deluge of star-packed ensemble rom-coms that never matched this feel-good Christmas joint, and seeing how we’re currently suffering a drought of sweet, smart rom-coms, you’ll undoubtedly be pining for something as likeable as Love, Actually. Packed with storylines, if you pay attention you realise nobody in the cast actually has a lot of screentime, but that only makes the tightly orchestrated scenes from a host of British stars feel more impactful.
Mamma Mia! (2008)
At the time, critics were sniffy about this explosively silly ABBA jukebox musical (or maybe everyone was too busy lauding The Dark Knight, which came out the same day in 2008), but by the time Here We Go Again arrived 10 years later, everyone had retroactively acknowledged how delightful the original was. Showcasing levels of joy and horniness previously undocumented in Meryl Streep movies, it’s impossible to get through five minutes without shrieking with glee.
The Mask (1994)
Excessive, cartoonish CGI was all the rage in the 90s, and they were perhaps never used more appropriately than in 1994’s The Mask, where the effects had to play catch up to Jim Carrey’s much more excessive and cartoonish behaviour. Carrey is a mild-mannered bank clerk who transforms into a supercharged showman using an ancient magic mask, and the threadbare story is more than enough to justify the levels of live-action Looney Tunes-ing Carrey brought to the table.
Mean Girls (2004)
Before Mean Girls returns to cinemas (not as a remake, but as a film adaptation of the Broadway musical version), there’s no better chance to reacquaint yourself with the absurdity of the original. Striking the balance between late-90s absurd send-ups of the teen genre while also indulging us in the quirks of 2000s high school fare, this nearly 20 year old film (!!!) understands the mania of high school life more than most. Never annoying, charmingly dated, stone cold classic material.
Meet the Parents (2000)
It often gets overlooked due to his peerless dramatic talents, but Robert De Niro is a fantastic comedic actor. Mixed together with the affability of early-2000s Ben Stiller and Owen Wilson, and this comedy about trying to stop your girlfriend’s intimidating father hating you does more than enough to keep you entertained. Meet the Parents remains the best of De Niro shifting from gangsters to gag-sters (I’m not apologising for that pun).
The Miseducation of Cameron Post (2017)
Kick Ass and Hugo star Chloë Grace Moretz gave her funniest and most mature performance in this film that’s warm and wry in equal measure. Set at a gay conversion camp, Miseducation finds a lot of humanity and humour in incredibly bleak contexts, making it easy to latch onto the young people trying to hold onto each other in bad circumstances. Who said comedies shouldn’t make you well up?
The Mitchells vs The Machines (2020)
This Phil Lord and Chris Miller produced film may be the only one of their animated efforts not destined to be a smash hit (it was shifted to Netflix due to the pandemic). But the livewire, eye-popping adventure of a dysfunctional but kind-hearted family who must combat an army of AI machines still pushes the boundary of cartoon comedy with its wildly expressive visuals, heightened voice performances, and a reliance on unapologetically silly humour.
My Best Friend’s Wedding (1997)
In the 90s, Julia Roberts could basically do no wrong (to be honest, when has she ever done wrong in her whole career?) and her leading turn as a woman consumed with envy over her best friend marrying someone else deserves all the praise she got from Erin Brockovich and Pretty Woman. It’s a catty, sharp but deeply sentimental romcom that’s elevated with one of the funniest “gay best friend” archetypes thanks to Rupert Everett.
The Naked Gun: From the Files of Police Squad! (1988)
The Zucker brothers were pioneers of comedies that packed in as many gags as possible, and their adaptation of their own series Police Squad got off to a flying start with this caper about trying to thwart the Queen’s assassination. Some jokes are obvious, others clever and subtle—regardless, there’s enough in its 85 minute runtime to entertain even the most cynical viewer.
Napoleon Dynamite (2004)
It’s tough to pin down the vibe of this oddball indie winner—a coming-of-age film, an exercise in Idahoan weirdness—but most importantly you feel yourself gradually understanding why the film developed the cult following to end all cult followings (despite grossing 110 times its budget on release). The soundtrack is killer, the characters are compelling, and you’ll find yourself giggling at every other strange little joke.
Nativity (2009)
The British aren’t fantastic at making Christmas movies, but every once in a while they knock it out of the park. When a teacher (Martin Freeman) lets a little white lie about a movie producer coming to see his school’s nativity play get out of hand, he must upscale the show to Hollywood standards. A terrific ensemble of adorable and hilarious kids makes this Yuletide a complete winner, with an audition montage for the ages.
The Nice Guys (2016)
Together with Barbie, this is the strongest argument for Ryan Gosling being the funniest man on the planet. Shane Black’s finest hour, this shaggy dog 70s throwback pits a private detective (Gosling) together with a freelance enforcer (a superb late-era Russell Crowe) to take on a smorgasbord of Nixon-era baddies—mob hitmen, abusive porn producers, and a corrupt automobile industry. It’s side-splitting fun, made more precious by the fact we do not see mid-budget capers like this much.
No Strings Attached (2011)
2011’s other casual sex romcom was helmed by Ghostbusters’ Ivan Reitman, and feels a lot more grounded in its relationship drama (strangely, released the same year Natalie Portman won her Oscar for Black Swan.) The looser story may not offer the charisma or chemistry that Friends with Benefits did, but you may find the characters richer—the kind of gentle romcom they don’t make too often anymore.
Not Another Teen Movie (2001)
Scary Movie revitalised the Hollywood parody film (a win!) but ultimately opened the door for the ugly, crass depravities of Epic Movie and Disaster Movie (a definite loss). This teen comedy film (starring a baby Chris Evans) ranks as one of the better efforts, leaning more into silly, heightened performances and bizarre dialogue than cheap, gross humour to pastiche the slew of derivative high school flicks we got in the 90s.
Official Competition (2022)
You don’t need to know about prestigious European filmmaking to get this dry Spanish satire—the performances from Penélope Cruz, Antonio Banderas, and prominent Argentinian actor Oscar Martínez are perfectly pitched to parody the egos and stereotypes of the European film industry. It’s basically a chamber piece with a serious actor (Martínez) warring with a bad boy celeb one (Banderas) in rehearsals with a serious arthouse director (Cruz), wittily commenting on the intersection between commerce and soulful art.
Our Ladies (2021)
For an unruly band of teenagers at a remote Scottish Catholic school, a choir trip to the capital city is an opportunity for getting drunk and hooking up. The intersection of 90s Scottish culture, Catholic values, class barriers, and small-town disillusionment—not to mention the film’s touching approach to queer voices—makes Our Ladies a welcome journey. The cast confidently guides us through adolescent joy and disappointment, with a variety of foul-mouthed Scottish phrases to add to your lexicon.
Piranha 3D (2010)
For some wild reason there are five Piranha movies, and even wilder is the fact that this is the best one. The closest thing to a so-bad-it’s-good movie on this list, Piranha gets away with its questionable writing due to a sincere attempt at exploitation cinema and more than a few terrific scenes of aquatic carnage. One of the finest films of our age to put on with beers and a crowd, it’s guaranteed laugh-a-minute—but it’s unclear if that’s entirely for the reasons the filmmakers intended.
Pitch Perfect (2012)
If you weren’t in school around 2012, it’s difficult to appreciate the stranglehold this film, especially “the cup song”, had on youngsters. Thankfully, the quality of this acapella film more than makes up for it, assembling a banging cast and building a hilarious world of cutthroat vocal-only singing societies for the college students to navigate. Plus, every film is made better by a hilarious audition scene.
Planes, Trains and Automobiles (1987)
One of the few “grown-up” movies John Hughes directed, this road trip goes down as one of his best thanks to a sharp script and two of the 1980s’ finest comedic performers. Steve Martin plays a man on a mission to get home for Thanksgiving that’s complicated by transport woes and an obnoxious travel buddy, played by John Candy. Few films understand just how much insanity and hilarity can blend together while being stuck on the road.
Plus One (2019)
Who says there’s no charismatic rom-com leads out there? Two television comedy success stories, Jack Quaid (The Boys) and Maya Erskine (Pen15) end up shackled together for a series of summer wedding dates, offering to be the other’s platonic plus one. Their banter is refreshingly strong, and you’re bound to feel the welcome warmth of a well-crafted rom-com in no time. The script is tight, but this film belongs to its leads, who are as compelling as they are funny.
Pretty in Pink (1986)
Everyone has a different favourite John Hughes movie, and this Molly Ringwald vehicle deservedly features at the top of a lot of coming-of-age lists. It’s packed with all-timer character actors—dreamy Andrew McCarthy, wacky Jon Crier, loveable Harry Dean Stanton, and bad boy James Spader. But all the humour and charm is in service of Ringwald’s shimmering presence in the lead—even if Hughes felt like he got the ending wrong and reworked the story into Some Kind of Wonderful.
Pretty Woman (1990)
Back in the day, there was no A-lister knocking it out the park quite like Julia Roberts. If Ticket to Paradise reminded us just how easy it is for her to ooze charisma, Pretty Woman unveiled her endless talents to the world. She’s hilarious, sexy, charming—she fills scenes with sheer presence. Even if the film’s view of sex workers has become severely dated, there’s no denying Roberts’ star power. Missing out on this comedy would be a big mistake, huge.
Pride (2014)
When picturing your typical British film, Pride hits all the boxes; a cast made up of fresh young stars and older legends, set in an odd but socially relevant time in history, and filled with rallying sentimentality. It also happens to be the most exemplary typical British film of the past decade, bringing to life a story of intersectionality between striking Welsh miners and queer activists while Thatcher’s administration was persecuting both of them. The titters evolve into belly laughs, and besides that, you’ll have a grin on your face and tears in your eyes right up to the credits.
Red Rocket (2021)
He’s awful. Like, really, utterly awful; a narcissist, a manipulator, and much worse. But Mikey Saber, the ex-porn star returning to his Texan hometown, makes it impossible to look away. Thanks to Simon Rex’s revelatory lead performance, Sean Baker’s funniest film yet is a rollercoaster of sympathy and disgust as you watch a man ruin what little life he has left. Outrageous and unpleasant in equal measure, this is a character study you didn’t know you needed.
Risky Business (1983)
Before he went without shirt in Top Gun, Tom Cruise shed his trousers in this incredibly Reagan teen comedy, where a jumped-up yuppie schoolkid hires sex workers for his empty-nest party blowout. Has it aged well? Absolutely not. It’s more of a time capsule of dated values and undeserved smugness, but Cruise was a star in the making, and his chemistry with Rebecca De Mornay is off the charts. John Hughes wished he had this much edge!
Safety Not Guaranteed (2012)
Before Colin Trevorrow was known for making cinematic disasters, he directed this Sundance crowd pleaser about a time travel inventor sourcing lab assistants from a classified ad in a newspaper. It stars Audrey Plaza and Jake Johnson, just before they were beloved by the internet at large, and mixes low-key drama with charming and exciting character comedy. If you want smarmy characters making fun of each other and doubting their self-worth, it’s hard to find something more winning than this.
She’s Gotta Have It (1986)
Spike Lee’s debut feature is packed with more style and personality than some directors manage in their whole filmography. Tracing the journey of Nola, a young Black woman, and her three lovers as she tries to figure out her priorities, She’s Gotta Have It is filled with talks-to-camera, incisive perspectives, and amusing relationships. An authentic character study of an intriguing zeitgeist.
Son of Rambow (2008)
The Fabelmans and Super 8 may have captured teenage filmmaking in a more wistful manner, but trust the Brits to inject it with a lot of cringy humour. Starring a baby Will Poulter, this 80s film pits a super-religious kid with the school rebel as they make Rambo-inspired home movies in the woods. It’s difficult to tell which polarised school experience writer-director Garth Jennings is drawing on more, but it’s undeniable that both are detailed with exceptionally funny warmth.
Spontaneous (2020)
These days, teen comedies need an eye-catching premise to stand out in a crowded market, and there’s certainly nothing more head-turning than setting a love story during a wave of high schoolers inexplicably exploding. It’s as dark as teen comedies get, unafraid to wring every bit of horror and comedy from its premise while still being appropriate for a young audience. Released quietly in 2020, it didn’t make as explosive an impact as it deserves, making its appearance on Netflix all the more important for fans of strange, black comedy.
The Suicide Squad (2021)
After so many years of lacklustre action scenes in recent superhero fare, it’s great to see a film directed by someone with an eye for graceful brutality. James Gunn revitalised the Suicide Squad name with a tight, gleeful, and surprisingly character-driven mission that saw an impressive amount of body dismemberment. The way Gunn’s camera moves with the slick stunt work, often set to iconic songs, makes it difficult to look away even if things get especially gory.
Superbad (2007)
Based on the teen years of the film’s writers, Seth Rogen and Evan Goldberg, Superbad made an incredible impact on teen boys because they saw something in its overly crass, impenetrably awkward, and secretly anxious protagonists, in a way no coming-of-age comedy had yet captured for their generation. Seth and Evan (Jonah Hill and Michael Cera) are perfectly cast as the weirdos whose surrounding friends and goes prove worthy foils in their quest of getting laid, before they have to confront what’s really worrying them about leaving high school.
Swingers (1996)
Before he kicked off the MCU, helmed the billion-dollar smash Lion King, or brought Star Wars to the small screen, Jon Favreau teamed up with the superhero known as Vince Vaughn, penning the script for this easy-going comedy about men who think they’re cool when they’re anything but. Both of the lead performances are plentifully charismatic, not to mention their fantastic chemistry, and each gets their own embarrassing scene as they mess up trying to pick up women.
Ted (2012)
Ted can be understood as a test to see how much comedic mileage you can get out of an CG teddy bear who sounds like Peter Griffin being vulgar with his buddy Mark Wahlberg. As it turns out—quite a bit! It’s an easy, amiable watch for fans of foul-mouthed bits and fragile masculine camaraderie, with plenty of surprise appearances and a solid story about refusing to grow up.
No-one’s calling this the most sophisticated comedy, but it’s got a lot more charm than its contemporary season of Family Guy. Not only is Seth McFarlane the perfect choice for a washed-up, fantastical celebrity, but Mark Wahlberg’s muscle-headed dudebro-isms make a perfect match. It’s a buddy comedy with off-colour jokes and appropriately forced sentimentality. You shouldn’t feel bad about loving it. Well, maybe a little bit.
No-one’s calling this the most sophisticated comedy, but it’s got a lot more charm than its contemporary season of Family Guy. Not only is Seth McFarlane the perfect choice for a washed-up, fantastical celebrity, but Mark Wahlberg’s muscle-headed dudebro-isms make a perfect match. It’s a buddy comedy with off-colour jokes and appropriately forced sentimentality. You shouldn’t feel bad about loving it. Well, maybe a little bit.
This is the End (2013)
Of the two armageddon comedies 2013 gave us, this is definitely the more “American” one: filled with indulgent cameos, lots of easy improv, and many attempts to shock its audience. Still, This is the End is reliably funny, with some great comic personas riffing on their own personalities, and plunged into increasingly messed up “end of the world” scenarios that make you realise you’ve always wanted to know what A-listers would do when the rapture comes. Michael Cera MVP.
Trading Places (1983)
Eddie Murphy had the mother of all hot streaks after his buddy-cop debut in 48 Hrs, and no comic pairing worked better than his turn Dan Aykroyd. In this dark Christmas caper, the machinations of a couple old-money New Yorkers swaps Aykroyd’s trust fund broker for Eddie’s homelessness. These are two powerhouse SNL performers who are very familiar with each other’s talents, and this will go down as one of the best comic collaborations (Just fast-forward through that train scene!).
Tremors (1990)
Back in the 90s, this was the only big-worms-in-the-desert film worth talking about. Creature features give a lot of opportunity for rollicking good fun, and a game ensemble of character actors led by Kevin Bacon elevates Tremors from B-movie fare to A-class entertainment. We’re treated to every trick in the book in terms of visual effects, and the overall ridiculous tone results in a slick, thoroughly amusing ride.
Triangle of Sadness (2022)
Shooting all the way from Cannes Film Festival to the Oscars, Swedish satirist Ruben Östlund’s latest film is his biggest crowd-pleaser yet. Influencers and the megarich become trapped on a luxury yacht after their ideal cruise is hit by an overwhelming storm (with some bodily excretions included for good measure). It’s refreshing when an arthouse film commits itself to full-bodied laughs without compromising any venom for the wealthy elite’s dismissal of exploited labour.
Tropic Thunder (2008)
Its healthy meme longevity means it’s possible to forget just how funny this Hollywood-satire really is, where five washed-up/upcoming actors are plunged into a jungle to get some cinéma vérité realism to a bloated war production. The stars roll in to make fun of… themselves, with each performance lampooning some subset of big-budget, big-ego movie business personalities. Greats of American comedy each make their own impact in a film crammed with jokes that never feels overstuffed.
The Unbearable Weight of Massive Talent (2022)
Nicolas Cage as Nicolas Cage?! Admittedly, it doesn’t sound as crazy a premise as some of Cage’s more ridiculous films, but that didn’t stop Cage bringing his all to this meta-crime-buddy comedy pairing him up with a dim-witted superfan played by everyone’s favourite hunk, Pedro Pascal. A de-aged imaginary 90s-era Cage provides some welcome mean-spirited introspection, and it overall provides what you want from a Cage meme film: lots of gags, but without skimping on heart.
Up in the Air (2009)
Jason Reitman has officially made the leap to blockbuster films, but he’s certainly no stranger to big stars in his smaller dramas. George Clooney stars as a drifting, aloof man who flies from one corner of America to the other firing people, and his lengthy airport stays pair him up with Anna Kendrick and Vera Farmiga, for both friendship and affairs. One of Reitman’s most confident works, it’s filled with dry, charming humour without skimping on any genuine heart.
Wayne’s World (1992)
It may never enjoy the crown of “best SNL movie ever” in a world where The Blues Brothers exists, but with this wacky 90s comedy, Mike Myers and Dana Carvery still made a convincing case that the format shouldn’t be completely excluded. Wisely, Myers and other SNL writers didn’t spend a crazy amount of time working out a dense plot, but rather packing the film with as many oddball, bizarre gags as possible.
The Way, Way Back (2013)
A relentlessly charming coming-of-age film where a teenage boy’s beach summer is clouded by the malign presence of his mother’s new boyfriend (an against-type Steve Carrell). Thankfully, he finds a new home in the unlikely embrace of a nearby water park, staffed by Sam Rockwell, Maya Rudolph, and Community’s Jim Rash. The film is electric any time we’re hanging out at this aquatic oasis, with winning chemistry from all of its workers and an Oscar-deserving performance from Rockwell.
The Wedding Singer (1998)
Before it became exhausting (and way before we remembered how talented he was in Uncut Gems), few movies correctly utilised Adam Sandler’s dichotic mix of monotone and screaming—and none more than The Wedding Singer. It helps that he was paired up with the loveable Drew Barrymore, who brings out all of Sandler’s warmth and charm behind the misanthropic personality of his character. The scene where he sabotages a wedding onstage is some of his best work.
We’re the Millers (2013)
At one point in We’re the Millers, Jason Sudekis looks directly at the camera and shrugs at the audience, which aptly sums up how sophisticated a comedy experience we’re getting from this raunchy found-family road trip. Assuming a family campervan will be less likely to be stopped by border police, a low-level dealer helps smuggle a huge amount of weed into the US with a fake wife and kids, and it gets much stupider from there—in a good way.
The Wolf of Wall Street (2013)
At 3 hours, it might test your patience, and with constant horrendous immorality throughout, it might test your stomach. There exists in another universe a film about financial criminal Jordan Belfort where the tone and script spell out just how you’re supposed to feel about the disgusting abuses he and his cronies committed, but Scorsese is a master of subtext, making a film fuelled not by excitement but by irony. If you come away from the film thinking these people were fun, you’re watching movies wrong. It’s the rare comedy that’s supposed to make you feel sick.
What We Do in the Shadows (2014)
This cult hit (it had to raise a Kickstarter for an American release!) kicked off Taika Waititi’s international career, as he starred and co-director alongside Kiwi collaborator Jemaine Clement as an awkward housemate vampire. It led to Thor and a multi-season TV series, so it may look quaint in retrospect, but thanks to an imaginative cast and some killer improvisers, Shadows remains one of the sharpest and most charming mockumentaries and horror-comedies of the last decade.
While We’re Young (2014)
By this point, Noah Baumbach had carved himself a confident niche of neurotic adult dramedies, but his collaborations with the rising star Adam Driver was only just kicking off with this generational gulf comedy about an older couple being rocked by a younger, more free-spirited one entering their lives. Baumbach has never found a mouthpiece more suited for his dry, offbeat comedy than Driver, and the film cuts cleanly through older anxieties of uselessness in the face of a fresher, younger cohort.
You Don’t Mess with the Zohan (2008)
Adam Sandler saw the slump his 2000s career was in, and also Borat, and decided to kick things up a notch. He stars as a top Israeli commando with incredible sexual prowess who relocates to New York to get away from his punishing job. Politically correct? Absolutely not. But aside from the winning absurdity of so many jokes, Sandler’s confidence in attempting such broad and controversial humour feels refreshing compared to the laziness of so much of his career.
Zoolander (2001)
Not one to be pigeonholed, Ben Stiller has made a career out of playing both the straight man and wacky comic characters. Derek Zoolander, the male model who realises he’s part of a Manchurian Candidate network of assassins. Apart from showcasing a variety of outlandish performances, Zoolander manages to lampoon a very specific 2000s idea of fashion and celebrity, and boasts a frequency of quotable lines that’s only matched by the amount of unexpected cameos.
It’s difficult to articulate how much this Ben Stiller male modelling comedy has dominated the comedic tastes of teenagers over the past two decades. With its endlessly quotable lines, absurd story and performances filled with outrageous choices, this studio comedy riff on The Manchurian Candidate (yes, really) will undoubtedly be passed down from generation to generation as a gateway into shamelessly absurd cinema, and cemented “Blue Steel” as a go-to look worldwide.
