Spring is here and it’s important to remember what really matters: family, friends, and (guf-)faws. What’s better than nesting up with your loved ones on the couch and watching something truly hilarious? And when it comes to great comedies, Netflix has you covered, from classics like Monty Python and the Holy Grail and The Big Lebowski, to Netflix originals like The Mitchells vs. The Machines and Glass Onion. Instead of scrolling endlessly through that app, looking for the right movie so long that you fall asleep halfway through, you should consult our quick and easy guide to the best comedy movies on Netflix. We even link right to ’em, because we’re polite like that.
So let’s take a quick trip through the funniest movies on Netflix right now. For the purpose of these rankings I’m looking at how funny a movie is alongside how well made it is—meaning you might see some absolutely hilarious comedies that aren’t that well respected by critics coming in higher than better reviewed, more technically proficient films.
Here are the best comedies on Netflix as of May 2024.
1. Monty Python and the Holy GrailYear: 1975
Directors: Terry Gilliam, Terry Jones
Stars: Graham Chapman, John Cleese, Eric Idle, Terry Jones, Connie Booth
Rating: PG
It sucks that some of the shine has been taken off Holy Grail by its own overwhelming ubiquity. Nowadays, when we hear a “flesh wound,” a “ni!” or a “huge tracts of land,” our first thoughts are often of having full scenes repeated to us by clueless, obsessive nerds. Or, in my case, of repeating full scenes to people as a clueless, obsessive nerd. But, if you try and distance yourself from the over-saturation factor, and revisit the film after a few years, you’ll find new jokes that feel as fresh and hysterical as the ones we all know. Holy Grail is, indeed, the most densely packed comedy in the Python canon. There are so many jokes in this movie, and it’s surprising how easily we forget that, considering its reputation. If you’re truly and irreversibly burnt out from this movie, watch it again with commentary, and discover the second level of appreciation that comes from the inventiveness with which it was made. It certainly doesn’t look like a $400,000 movie, and it’s delightful to discover which of the gags (like the coconut halves) were born from a need for low-budget workarounds. The first-time co-direction from onscreen performer Terry Jones (who only sporadically directed after Python broke up) and lone American Terry Gilliam (who prolifically bent Python’s cinematic style into his own unique brand of nightmarish fantasy) moves with a surreal efficiency. —Graham Techler
2. Monty Python’s Life of BrianYear: 1979
Director: Terry Jones
Stars: Graham Chapman, John Cleese, Terry Gilliam, Eric Idle, Terry Jones, Michael Palin
Rating: R
Pretty much made on George Harrison’s dime and considered, even if apocryphally, by the legendary comedy troupe to be their best film (probably because it’s the closest they’ve come to a three-act narrative with obvious “thematic concerns”), Life of Brian got banned by a lot of countries at the butt-end of the ’70s. As a Christ story, the telling of how squealy mama’s boy, Brian (Graham Chapman) mistakenly finds himself as one of many messiah figures rising in Judea under the shadow of Roman occupation (around 33 AD, on a Saturday afternoon-ish), Monty Python’s follow-up to Holy Grail may be the most political film of its ilk. As such, the British comedy group stripped all romanticism and nobility from the story’s bones, lampooning everything from radical revolutionaries to religious institutions to government bureaucracy while never stooping to pick on the figure of Jesus or his empathetic teachings. Of course, Life of Brian isn’t the first film about Jesus (or: Jesus adjacent) to focus on the human side of the so-called savior—Martin Scorsese’s take popularly did so less than a decade later—but it feels like the first to leverage human weakness against the absurdity of the Divine’s expectations. Steeped in satire fixing on everything from Spartacus to Franco Zeffirelli’s Jesus of Nazareth, and buttressed by as many iconic lines as there are crucifixes holding up the film’s frames (as Brian’s equally squealy mother hollers to the swarming masses, “He’s not the messiah. He’s a very naughty boy!”), the film explores Jesus’s life by obsessing over the context around it. Maybe a “virgin birth” was really just called that to cover up a Roman centurion’s sexual crimes. Maybe coincidence (and also class struggle) is reality’s only guiding force. Maybe the standard of what makes a miracle should be a little higher. And maybe the one true through line of history is that stupid people will always follow stupid people, whistling on the way to our meaningless, futile deaths. —Dom Sinacola
3. Talladega Nights: The Ballad of Ricky BobbyYear: 2006
Director: Adam McKay
Stars: Will Ferrell, John C. Reilly, Sacha Baron Cohen, Gary Cole, Michael Clarke Duncan, Leslie Bibb, Jane Lynch, Amy Adams
Rating: R
Will Ferrell and John C. Reilly go together like reconciliation and getting thrown out of Applebee’s. In one of the finest films directed by Adam McKay, the duo play race-car drivers in a loving send-up of NASCAR culture. Sacha Baron Cohen is perfect as Ferrell’s European foil Jean Girard, and the film is jam-packed with both sight gags (the live cougar in the race car) and brilliant dialogue (the prayer to eight-pound-six-ounce-newborn-infant Jesus). His sons Walker and Texas Ranger, the random appearance of Elvis Costello and Mos Def in Girard’s back yard, and Amy Adams recreating the Whitesnake video in the bar all provide Hall of Fame moments from the Judd Apatow canon.—Josh Jackson
4. The Big LebowskiYear: 1998
Director: Joel Coen
Stars: Jeff Bridges, John Goodman, Julianne Moore, Steve Buscemi, David Huddleston, John Turturro, Philip Seymour Hoffman
Rating: R
Jeff “The Dude” Lebowski has plenty of time on his hands—enough to while away the days chasing down a stolen rug, at least—but he can hardly get himself dressed in the morning, chugs White Russians like it’s his job (incidentally, he doesn’t have a real one) and hangs around with a bunch of emotionally unstable bowling enthusiasts. Any mission you set him off on seems bound to fail. And yet that’s the great joy, and the great triumph, of the Coen Brothers’ _The Big Lebowski_ and its consummate slacker-hero. The Dude is a knight in rumpled PJ pants, a bathrobe his chainmail, a Ford Torino his white horse. Strikes and gutters, ups and downs, he takes life in ambling, unshaven stride—and more than dashing good looks and unparalleled strengths, isn’t that something we should all aspire to? —Josh Jackson
5. Happy GilmoreYear: 1996
Director: Dennis Dugan
Stars: Adam Sandler, Christopher McDonald, Julie Bowen, Frances Bay, Carl Weathers
Rating: PG-13
Adam Sandler could’ve retired in 1998, after his first three movies, and his comedy legacy would’ve been secured. (He maybe should’ve retired then, but let’s not get into that.) It’s hard to pick between The Wedding Singer, Billy Madison and Happy Gilmore, but let’s talk about that last one right now. The tale of a failed hockey player becoming a champion golfer is an ideal vehicle for Sandler’s inchoate frat boy rage, and the absurd streak that elevated Madison above most Hollywood comedies of the day is even more visible here. It has some of the same problems as most Sandler movies–an underwritten, unbelievable love interest (here played by Modern Family‘s Julie Bowen), a bare bones story that’s little more than a launching pad for jokes–but Gilmore is an ideal character for Sandler, and a great supporting cast (including Carl Weathers, Ben Stiller, Richard Kiel, Joe Flaherty, and Christopher McDonald as the iconic villain Shooter McGavin) help turn this into a legitimate classic. Also there’s a great chance this is the main thing younger people know Bob Barker from, which is actually kind of sad.–Garrett Martin
6. Top Secret!Year: 1984
Director: Jim Abrahams, Dvaid Zucker
Stars: Val Kilmer, Lucy Gutteridge, Christopher Villiers, Omar Sharif, Peter Cushing, Jeremy Kemp
Rating: PG
This goofy, Monty Python-level silly, yet surprisingly narratively engaging parody of WWII-era propagandistic American spy thrillers is, for some maddening reason, not as popular or as well-known as Airplane and Naked Gun, two other groundbreaking comedy classics from the Zucker, Abrams, Zucker team. The fish-out-of-water plot features Elvis Presley-meets-The Beach Boys rock star Nick Rivers (Val Kilmer) finding himself as the savior of a group of anti-East German revolutionaries, and is of course used as a shoestring to hang as many cliché-skewering gags per minute as possible. As opposed to Airplane, where the parody was focused on story-based tropes, Top Secret’s gags mostly lean on bits that expose the various visual trickery that Hollywood uses to sell its fantasies. Looking from the inside of a train, you think the train is moving away from the station, when actually it’s the station that’s moving. A phone in the foreground of a shot turns out to actually be as massive as it looks. Cows seen through binoculars casually cross the masking of the POV effect. An Indiana Jones type map turns into a game of Pac-Man. The list goes on. Kilmer’s blistering charisma makes us fall in love with Nick Rivers the way the supporting characters are supposed to, providing the narrative glue that keeps it from feeling like a bunch of episodic sketches. Top Secret is the prototypical underrated comedy masterpiece.–Oktay Ege Kozak
7. Girls TripYear: 2017
Director: Malcolm D. Lee
Stars: Regina Hall, Queen Latifah, Jada Pinkett Smith, Tiffany Haddish, Larenz Tate, Mike Colter
Rating: R
While it’s great to experience movies that are powerful and groundbreaking and devastating—we all love to weep at the theater or in our homes, wiping away tears as the credits roll on movies like Call Me By Your Name—but some of the best movies can be both well-written and unapologetically fun. And I’m not sure anybody had more fun this year than those of us who experienced Girls Trip. You go in likely expecting a solid, heartwarming tale about a group of friends who reconnect on a trip to New Orleans, but you leave wondering how you’d gone your whole life without experiencing this sort of black, female-centered version of The Hangover. It’s not just that Girls Trip, is so reminiscent of those raunchy, absurd (and kind of disgusting) comedies, it’s that the shocking, laugh-out-loud moments are so earned and so excellently delivered that it’s easy to forget there’s some kind of message wrapped up in it all. That’s a good thing, because it makes those final confrontations and confessions at the end of the film all the more compelling. Of course, what really made this movie one of the most beautiful and hilarious movies of the year was its cast, featuring performances from an incredible group of women with the kind of chemistry you dream of seeing on screen: Regina Hall, Tiffany Haddish, Jada Pinkett Smith and Queen Latifah all turned in phenomenal work. Haddish has been (rightfully) celebrated as the breakout star, but her comedic prowess could have been lost on a lesser script. Luckily, writers Tracy Oliver, Kenya Barris and Erica Rivinoja laid an impeccable foundation for director Malcolm D. Lee, and the result was one of the biggest blasts—among any genre—of the year. —Shannon M. Houston
8. Pineapple ExpressYear: 2008
Director: David Gordon Green
Stars: Seth Rogen, James Franco, Gary Cole, Rosie Perez, Danny McBride, Craig Robinson, Kevin Corrigan
Rating: R
Pineapple Express is a successful attempt to graft the kind of comedy that Judd Apatow’s crew was known for in the ’00s onto a different genre. The result is a shaggy, ’70s-style low-budget crime thriller turned into an absurd, low-brow stoner comedy starring Seth Rogen and James Franco. This is the best vehicle for these two after Freaks and Geeks. As ridiculous and violent as the comedy gets, it’s still rooted in character, and not just that of the two leads; almost everyone on screen, from Gary Cole’s crime boss, to Craig Robinson and Kevin Corrigan’s hitmen, to Danny McBride’s cartoonish small-time dealer, establishes a character that’s more than just a stereotype or bundle of comical tics.—Garrett Martin
9. National Lampoon’s Animal House Year: 1978
Director: John Landis
Stars: John Belushi, Tim Matheson, Karen Allen, Peter Riegert, John Vernon, Tom Hulce, Bruce McGill, Stephen Furst, Donald Sutherland, Kevin Bacon, Mark Metcalf, Verna Bloom
Rating: R
Times change. A lot of what might’ve been considered acceptable when Animal House came out almost 50 years ago is absolutely not today. Even when I first saw it in the early ‘90s John Belushi’s peeping tom act felt uncomfortable and outdated, to say nothing of using statutory rape as a punchline. Animal House might be hard to get into for younger generations, but if you can set aside the miserable sexual politics (which were probably not that unrealistic for a group of college boys in the ‘60s [or ‘70s, or ‘80s, or ‘90s, or ‘00s…]) you’ll find a comedy that otherwise deserves its classic reputation, and one whose influence on Hollywood comedies is almost incalculable. Animal House is an endlessly quotable movie full of memorable set pieces, the prototypical Boomer soundtrack, and an all-time great performance by Belushi, and that’s why we’re recommending it today.—Garrett Martin
10. The Mitchells vs. The MachinesYear: 2021
Director: Mike Rianda
Stars: Danny McBride, Abbi Jacobson, Maya Rudolph, Mike Rianda, Eric Andre, Olivia Colman, Fred Armisen, Beck Bennett
Rating: PG
Animated generational divides have never been more like a sci-fi carnival than in The Mitchells vs. the Machines. Writer/director Mike Rianda’s feature debut (he and co-writer/director Jeff Rowe made their bones on the excellently spooky, silly show Gravity Falls) is equal parts absurd, endearing and terrifying. It’s easy to feel as lost or overwhelmed by the flashing lights and exhilarating sights as the central family fighting on one side of the title’s grudge match, but it’s equally easy to come away with the exhausted glee of a long, weary theme park outing’s aftermath. Its genre-embedded family bursts through every messy, jam-packed frame like they’re trying to escape (they often are), and in the process create the most energetic, endearing animated comedy so far this year. —Jacob Oller
11. Glass Onion: A Knives Out Mystery Year: 2022
Director: Rian Johnson
Stars: Daniel Craig, Janelle Monae, Ed Norton, Kate Hudson, Kathryn Hahn, Dave Bautista, Leslie Odom Jr., Jessica Henwick, Madelyn Cline
Rating: PG-13
In Rian Johnson’s latest Knives Out mystery, the Glass Onion is as much a metaphor for the nature of the whodunit as it is for the grandeur of the film itself. Resting upon a gorgeous Greek villa (on a billionaire’s private island, no less), the titular emblem is created through a combination of VFX and a practical structure that stands a mighty 20 meters high. Made in the U.K. from all-glass paneling, the Onion’s design was so intricate that it had to be assembled in its birthplace first to ensure that all its pieces fit together, disassembled entirely for its journey to a Serbian studio and then reassembled for the film. This extravagance perfuses beyond budget and set design to inform key elements of the overall work—most notably, its characters, sense of humor and roller coaster narrative. In Glass Onion, everything is more. More jokes. More self-reflexivity. More twists and turns. And, undeniably, more fun. Peeling back the layers of this campy mystery is none other than Benoit Blanc (Daniel Craig), “The Last of the Gentlemen Sleuths.” He opens a mixed bag of eccentric personalities, including unfiltered fashion designer Birdie Jay (Kate Hudson), Connecticut governor Claire Debella (Kathryn Hahn), mysterious scientist Lionel Toussaint (Leslie Odom Jr.), men’s rights influencer Duke Cody (Dave Bautista), wealthy entrepreneur Miles Bron (Edward Norton) and Andi Brand (Janelle Monáe), his estranged business partner. This absurdly delightful cast and gags are accompanied by a narrative that mirrors their chaos and lightheartedness. Where Knives Out is a straight whodunit, this second installment is more of an adoring parody of the subgenre. From recurring jokes about Clue to the utilization of famous novella tropes, the film dives headfirst into all things murder-mystery. It has multiple puzzles layered onto each other to create a viewing experience jam-packed with revelations and shocks—hence its overarching onion metaphor. Glass Onion is the kind of crowd-pleasing entertainment that is best experienced in a group setting, where the film’s topsy-turvy take on the whodunit is sure to keep you guessing (and laughing).—Kathy Michelle Chacón
12. Marcel the Shell with Shoes OnYear: 2022
Director: Dean Fleischer-Camp
Stars: Jenny Slate, Rosa Salazar, Thomas Mann, Isabella Rossellini
Rating: PG
Marcel the Shell with Shoes On gives us the opportunity for a delicate, whimsical and poignant escape that will make you feel stronger, taller and better for it on the other side. Who knew that a one-inch shell with shoes on would be our existential savior this summer? If you were poking around YouTube about a decade ago, you might have been witness to the viral introduction of Marcel the Shell with Shoes On. The tiny shell with insightful observations, and questions, about our everyday existence evolved into a trio of stop-motion animated shorts created by director Dean Fleischer-Camp and writer Jenny Slate (who also voices Marcel). It took more than a decade for the pair, along with co-writers Nick Paley and Elisabeth Holm, to come up with a broader story that would bring their bitty big thinker onto the big screen for a worthy continuation of his adventures. What they came up with connects loneliness, grief, hope and Lesley Stahl. No prior knowledge is necessary walking into Marcel the Shell with Shoes On, because the first act sets up the broader origin story for Marcel and their family, as well as recreates the heyday of their Internet notoriety into the film’s overall story. Taking place in a lovely Airbnb rental home in Los Angeles, Marcel is a resourceful little shell who lives in the vast home with his aging Nona Connie (Isabella Rossellini). Marcel spends most days creating Rube Goldberg contraptions, out of everything from standing mixers to turntables, to navigate challenges like climbing stairs or shaking kumquats from outside trees for food. The rest of their time is spent watching out for Connie as she gardens and makes friends with insects who assist in her garden-box tending. As Connie’s gotten more frail and forgetful in her old age, Marcel is the dutiful and gentle caretaker who cherishes her presence as his only existing family. Like the shorts, the canvas for Marcel the Shell with Shoes On is our real world, so Fleischer-Camp and cinematographer Bianca Cline are tasked with turning the mundane—a nice but regular old house—into a micro-playground filled with dappled light and ordinary obstacles meant to push Marcel’s ingenuity. Coffee tables become ice rinks, plant boxes become communal gardens and washing-room window sills become contemplative nooks for self-reflection. Their macro lens reframes everything we take for granted and makes them charming spaces for Marcel to navigate—and for our eyes to discover with fresh perspective. Of course, the cynics and the naysayers may accuse Marcel the Shell with Shoes On of being too twee or not cinematic enough. That’s ok. From the jump, a huge part of the film is allowing yourself to go to the tender places this movie intends to take you. This is an introspective journey that, if you let it, shatters the tiny boundaries of Marcel and Connie’s shells, connecting us all to the wealth of shared experiences, feelings and wants that take up essential space inside every one of us. That we can learn to embrace those things, with such vulnerability and bravery, from an anthropomorphic mollusk proves the true power of cinema.–Tara Bennett
13. Hunt for the WilderpeopleYear: 2016
Director: Taika Waititi
Stars: Sam Neill, Julian Dennison, Rima Te Wiata, Rachel House, Oscar Kightley, Tioreore Ngatai-Melbourne, Rhys Darby
Rating: NR
Bella’s (Rima Te Wiata) first encounter with Ricky (Julian Dennison), the new foster child she’s agreed to take on, doesn’t inspire confidence, especially with her clumsy jokes at the expense of his weight. In turn, with child-services representative Paula (Rachel House) painting Ricky as an unruly wild child, one dreads the prospect of seeing the kid walk all over this possibly in-over-her-head mother. But Bella wears him down with kindness. And Ricky ends up less of a tough cookie than he—with his fondness for gangsta rap and all that implies—initially tried to project. An adaptation of Barry Crump’s novel Wild Pork and Watercress, Taika Waititi’s Hunt for the Wilderpeople thrives on upending preconceived notions. The director shows sympathy for Ricky’s innocence, which is reflected in the film’s grand-adventure style. Cinematographer Lachlan Milne’s sweeping, colorful panoramas and a chapter-based narrative structure gives Hunt for the Wilderpeople the feel of a storybook fable, but thanks to the warm-hearted dynamic between Ricky and Hec (Sam Neill), even the film’s most whimsical moments carry a sense of real underlying pain: Both of these characters are outsiders ultimately looking for a home to call their own. —Kenji Fujishima
14. Bad TripYear: 2021
Director: Kitao Sakurai
Stars: Eric Andre, Tiffany Haddish, Lil Rel Howery, Michaela Conlin
Rating: R
What’s most distinguishable about Bad Trip is the way that it depicts the public which it interacts with. The film never aims to humiliate or dehumanize its subjects—instead of being disparaged or mocked in the name of comedy, bystanders are portrayed as more of a righteous tribunal than mere crabs in a barrel. The reprehensible behavior showcased always stems from Andre, Haddish or Howery, with spectators taking it upon themselves to moralize and attempt to salvage any remaining shred of the incognito actors’ perceived dignity—perhaps all too perfectly exemplified in a scene with a parking lot Army recruiter who civilly declines Andre’s offer of a blowjob in exchange for execution during a profound period of hopelessness. This ability to invoke public reaction—with no rubric for hardline emotions that the actors must elicit—is what allows the fabric of Bad Trip’s humor to shine through. With the professional actors shouldering the burden of both maintaining character for the benefit of the film’s overarching narrative as well as ensuring that the orchestrated gags play perfectly, the public’s only obligation is reacting genuinely, whether that be expressing anger, frustration, disdain or bewilderment. It’s this spectrum of varied emotion that is woven into the very fabric of the film, giving it an overtly genuine tone. At times it is even surprisingly heartwarming, with good samaritans stepping in to talk characters off of ledges and break up public quarrels.
15. Dolemite Is My NameYear: 2019
Director: Craig Brewer
Stars: Eddie Murphy, Keegan-Michael Key, Mike Epps, Craig Robinson, Tituss Burgess, Da’Vine Joy Randolph, Kodi Smit-Mcphee, Snoop Dogg, Ron Cephas Jones, Barry Shabaka Henley, Tip “TI” Harris, Luenell, Tasha Smith, Wesley Snipes
Rating: R
“I want the world to know I exist,” Rudy Ray Moore (Eddie Murphy) declares in Dolemite Is My Name. Awareness on a grand scale is an ambitious goal—but it didn’t stop Moore from trying. Rudy Ray Moore is a multi-hyphenate performer looking to propel his comedy career. After seeing Rico (Ron Cephas Jones), the local homeless man that visits where Rudy works, do stand-up, Moore decides to steal and refine Rico’s material. He assumes the character of Dolemite, a sharp, vulgar pimp who oozes confidence, and the “new” material kills in local clubs. Eventually, Moore signs a comedy record deal and charts on Billboard. Emboldened, he sets a new goal: to make a Dolemite film, exhausting all his personal expenses to do so. At the heart of Dolemite Is My Name is the smooth-talking man himself, played by Eddie Murphy. The actor has, since 2012, been quiet in the public eye, taking years-long breaks between films. In 2016, he resurfaced for the drama Mr. Church, his performance praised but the film critically panned. Being hailed as his “comeback” role, Dolemite finds Murphy in fit comedy shape, tackling this lead part with gusto. He embraces Moore’s slightly goofy enthusiasm and can-do attitude without a hint of mocking. For a character like Dolemite, so deeply rooted in the Blaxploitation era of the ’70s and frankly riddled with so many stereotypical elements, Murphy succeeds by being earnest, even when delivering Dolemite’s raunchiest lines. He reminds us he’s one of the best at balancing drama and comedy. A figure who could have been an offensive caricature in the wrong hands, Dolemite, in Craig Brewer’s film, is so much more; we go beyond the surface of the character, exploring one man’s quest for stardom and the entrepreneurial risks he took to be the talk of the town. We get a film befitting of Moore’s legacy while simultaneously reminding audiences the star power of Eddie Murphy. —Joi Childs
16. Meet the ParentsYear: 2000
Director: Jay Roach
Stars: Robert De Niro, Ben Stiller, Blythe Danner, Teri Polo
Rating: PG-13
Robert DeNiro’s comedy chops were never more perfectly suited than with his role as Jack Byrnes, the over-protective father who brings out the absolute worst in his son-in-law to be, male nurse Gaylord Focker (Ben Stiller). Every boyfriend’s nightmare about making a good impression comes to pass as Focker makes every wrong-headed decision that you’d expect from a Stiller character at this point. Plenty of laugh-out-loud moments make this now-classic slapstick comedy of errors a fun, popcorn movie night.—Josh Jackson
17. American GraffitiYear: 1973
Director: George Lucas
Stars: Richard Dreyfuss, Ron Howard, Paul Le Mat, Charles Martin Smith, Cindy Williams
Rating: PG
Before George Lucas started telling stories about distant galaxies, he wrote and directed a stellar coming-of-age film that plays beautifully off of the power of nostalgia. Set in the 1950s and chronicling a group of recent high school graduate’s last night in town before leaving for college, the film captures the striking time of a universal life transition nearly all can relate to. With heavyweights such as Ron Howard, Richard Dreyfuss, Mackenzie Phillips and Harrison Ford, this is a must-see for any teenager heading off to college.—Brian Tremml
18. The LovebirdsYear: 2020
Director: Michael Showalter
Stars: Issa Rae, Kumail Nanjiani, Paul Sparks, Anna Camp, Kyle Bornheimer
Rating: R
Michael Showalter updates the After Hours template with this fun romp, in which a modern, mundane couple who just broke up gets entangled in unexpected crime and danger. Rae and Nanjiani are a great comic duo who nail the mix of pettiness, tenderness and lived-in comfort of a couple who have already been going through the motions longer than it took to establish them; their blithe bickering and chatter, insistent whether they’re infiltrating a secret society orgy or about to be tortured, is consistently funny without feeling too quippy or sitcom-ish. There are a lot of movies like this—Date Night, Game Night, probably others that have the word “night” in the title—but The Lovebirds might be the sharpest one since Scorsese sent Griffin Dunne panicking through mid ‘80s Manhattan.—Garrett Martin
19. Smokey and the BanditYear: 1977
Director: Hal Needham
Stars: Burt Reynolds, Jackie Gleason, Sally Field, Jerry Reed, Paul Williams, Mike Henry, Pat McCormick
Rating: PG
If you were born after, say, 1990 Smokey and the Bandit probably seems like some mystifying artifact from a long-lost civilization. Hell, even if you were born after 1980 it might still seem utterly foreign to you. It’s both inherently, inextricably from the 1970s and also deeply entrenched in the Southern culture that was so popular throughout America at the time, and if you weren’t alive to remember those days you might not know what to make of this one. Odds are you won’t be able to resist Burt Reynolds’ endless charisma as the too-cool Bandit, though, or Sally Field’s trademark charm and warmth as a bride on the run, and especially Jackie Gleason’s comic masterclass as the blustery Southern sheriff Buford T. Justice. Obviously it’s aged a ton since 1977—this thing’s closing in on 50!—and won’t be for everybody, but there’s still a lot to enjoy here beyond mere nostalgia.—Garrett Martin
20. No Hard FeelingsYears: 2014
Director: Gene Stupnitsky, John Phillips
Stars: Jennifer Lawrence, Andrew Barth Feldman, Matthew Broderick, Laura Benanti
Rating: R
Jennifer Lawrence, why’ve you been holding out on us with your comedic talents? Straight up, the absolute crime that Lawrence has not filled up her IMDb with more big-screen comedies is the definitive takeaway from her work in the bawdy but heartfelt comedy No Hard Feelings. As the star and producer, Lawrence not only sells, but carries the film’s silly premise way beyond the sophomoric surface into a far more interesting and resonant space. No Hard Feelings may be marketed as just a raunchy, 2000s-era throwback comedy, but Lawrence and her co-star, Andrew Barth Feldman, elevate it into something more. Set in Montauk, New York, Maddie Barker (Lawrence) is a lifelong townie barreling into the summer season with desperate money problems and a ginormous chip on her shoulder regarding the influx of rich New Yorkers invading her quaint town. She’s feeling the disparity between the haves and have-nots more than ever before, as she’s fighting an exorbitant property tax lien on her modest family home and a lack of funds to release her booted car. Without options, Maddie responds to a Craigslist ad placed by wealthy summer residents looking for a 20-something to “date” their painfully shy 19-year-old son Percy (Feldman) before he departs for Princeton in the fall. Well beyond that age range, Maddie is nevertheless desperate and rollerblades her way into the vacation home, and trust, of Allison and Laird Becker (Laura Benanti and Matthew Broderick). Playing the kind of parent that Ferris Bueller would have mercilessly roasted back in 1986, Broderick gives a delightfully befuddled performance playing a peak helicopter parent alongside an equally funny Benanti. Their “mean-well” behavior towards their only child has been so stifling that they’re only just now seeing the folly of their extremely tight-leash ways with Percy. And Maddie convinces them that she’s the answer to getting the kid to loosen up, sow some oats and navigate the world with some confidence. When it counts, No Hard Feelings sheds the jokes and finds a meaningful journey for these two emotional misfits that change each other’s lives. —Tara Bennett
21. The Other GuysYear: 2010
Director: Adam McKay
Stars: Will Ferrell, Mark Wahlberg, Eva Mendes, Michael Keaton, Steve Coogan, Dwayne Johnson, Samuel L. Jackson
Rating: PG-13
The Other Guys might be the least heralded collaboration between Adam McKay and Will Ferrell, but it foreshadowed McKay’s shift into politics with an animated closing credits sequence that digs into the then-ongoing economic crisis in great detail. That might be what it’s best remembered for, and it might not have the absurd brilliance of Step Brothers or Talladega Nights, but Other Guys shouldn’t be overlooked. Ferrell and Mark Wahlberg are a great clash of personalities, and Steve Coogan, Dwayne Johnson and Samuel L. Jackson are all hilarious in smaller roles.–Garrett Martin
22. The Edge of SeventeenYear: 2016
Director: Kelly Fremon Craig
Stars: Hailee Steinfeld, Woody Harrelson, Kyra Sedgwick, Haley Lu Richardson
Rating: R
Craig may not always get the details right, but her larger vision—alternately pitiless and forgiving of teenage foibles in the midst of adolescence—is still bracing. And the performances she encourages from her actors help pick up the slack. This is Hailee Steinfeld’s first major performance after she burst onto the scene in the Coen Brothers’ True Grit in 2010, and if she showed remarkable pluck and heart there, she shows a talent for comedy here that one might not have been able to guess at from the earlier film. And what a joy Woody Harrelson is here, putting on a master class in minimalist acting, inspiring giggles while barely seeming to move a muscle.—Kenji Fujishima
23. Always Be My MaybeYear: 2019
Director: Nahnatchka Khan
Stars: Ali Wong, Randall Park, Keanu Reeves, Michelle Buteau, Vivian Bang, Karan Soni
Rating: PG-13
A film written by and starring Ali Wong and Randall Park was always guaranteed to be a home run, but the endlessly funny and charming Always Be My Maybe truly exceeds all romcom expectations. The duo (who penned the script with Michael Golamco) play childhood friends who lose touch after an impulsive teenage romance ends badly. From there, Wong’s Sasha becomes a celebrity chef as Park’s Marcus continues to live at home and work for his father’s blue collar business after his mother’s tragic passing. They each have things to learn from one another, sure, but Always Be My Maybe doesn’t just end when romance blossoms; it leans into the complications of two adults with independent lives choosing to be together and figuring out how to make it all work. Part of that, crucially, includes both Marcus and Sasha playing supportive roles in one another’s careers rather than compromising and giving up their passions to be together. Director Nahnatchka Khan keeps the stylish film moving at a pleasant comedic clip throughout, and there’s a killer cameo appearance you will not want spoiled before you see the movie. Seriously, you should watch it right now. —Allison Keene
24. Between Two Ferns: The MovieYear: 2019
Director: Scott Aukerman
Stars: Zach Galifianakis, Lauren Lapkus, Ryan Gaul, Matthew McConaughey
Rating: NR
Netflix originals are routinely criticized for their general low stakes vibe, like they’re the modern equivalent of old primetime made-for-TV movies from the ‘70s and ‘80s. You can’t really say that about Between Two Ferns: The Movie, because “low stakes” has been the entire point of Zach Galifianakis’s web series all along. This Funny or Die production sends Galifianakis and his public access crew (including Lauren Lapkus) on a cross-country jaunt to save their show and help Zach realize his dreams of being a legitimate late-night talk show host. Along the way they interview people like David Letterman, John Legend, Chance the Rapper, Benedict Cumberbatch, Brie Larson, and more. (And for some reason Phoebe Bridgers and that guy from The National show up for a musical number.) Scott Aukerman’s screenplay is as absurd and hilarious as you’d expect, and a game cast keeps it running smoothly throughout. Between Two Ferns: The Movie is basically the Citizen Kane of entirely unnecessary feature-length adaptations of one-joke web shows.—Garrett Martin
25. Bevery Hills CopYear: 1984
Director: Martin Brest
Stars: Eddie Murphy, Judge Reinhold, John Ashton, Lisa Eilbacher, Ronny Cox, Steven Berkoff
Rating: R
We might remember Beverly Hills Cop for Eddie Murphy’s one-liners and that perfect microcosm of 1984, “Axel F,” but at its heart, it’s an action movie. In fact, Mickey Rourke and Sylvester Stallone were both attached to Murphy’s role before last-minute re-writes catered the story to the SNL actor. And this was Murphy at his cocky, wise-cracking best—always in complete charge of the situation no matter how much of a fish-out-of-water his Axel Foley might have been.—Josh Jackson
26. The Incredible Jessica JamesYear: 2017
Director: Jim Strouse
Stars: Jessica Williams, LaKeith Stanfield, Noël Wells, Taliyah Whitaker
Rating: NR
Jessica Williams plays Jessica James, a twenty-something theatre fanatic who’s trying to get one of her plays produced while simultaneously dealing with a breakup. The ex? Damon, played by the equally wonderful Lakeith Stanfield (Atlanta, Short Term 12), who can’t manage to stay out of Jessica’s dreams. When she meets a new fling, played by the comically refreshing Chris O’Dowd, she begins to re-evaluate her love life while clinging to her life goals. When do you know you’ve made it? As lighthearted as the film can be, it’s rooted in an exploration of the deeper questions that any artist, or person for that matter, grapples with. Williams is hilarious, which we all know from her time on The Daily Show. She’s also incredibly powerful, showcasing a feminine strength that’s so crucial to this generation and a passion for her craft that’s the opposite of the indifference often associated with millennials. The film is perfect for a popcorn and beer night with the gals and guys. —Meredith Alloway
27. To All the Boys I’ve Loved BeforeYear: 2018
Director: Susan Johnson
Stars: Lana Condor, Noah Centineo, Janel Parrish
Rating: NR
To All the Boys I’ve Loved Before, the teen scene’s newest runaway hit, is a flat-out excellent film. It is not excellent “for a teen flick.” It is not excellent “for a romantic comedy.” It is excellent for a film. TATBILB fully inverts the 80/20 ratio: Within the first 20 minutes, all five of the deeply private love letters our daydreamy, emotionally buttoned-up protagonist Lara Jean (Lana Condor) has written to her childhood crushes over the years have been stolen and mailed out—including the one to her neighbor and best friend, Josh (Israel Broussard), who just happens to also be her older sister’s just barely ex-boyfriend. This swift puncturing of any protracted emotional dishonesty Lara Jean might have hoped to indulge in, well, forever, leaves the film’s final eighty minutes free for her to embrace some really radical emotional honesty. The importance of Lara Jean and her sisters being half-Korean, and the majority of the cast (along with Mahoro) non-white, is hard to overstate, but it isn’t the most impressive thing about the cast by a long shot. In a genre that can so often see its characters lean too far into caricature, Lara Jean’s world is instead populated with teens—and through them, love—you can believe in. —Alexis Gunderson
28. Role ModelsYear: 2008
Director: David Wain
Stars: Paul Rudd, Seann William Scott, Jane Lynch, Christopher Mintz-Plasse, Elizabeth Banks, Bobb’e J. Thompson
Rating: R
Even though it’s rated R, Role Models could easily be mistaken as a Judd Apatow-produced attempt at a family film. Much of what makes this feel like an Apatow film is how reliable the plot is. The end is no surprise to anyone who’s watched even a dozen Hollywood films, but what’s important is the journey. David Wain (Wet Hot American Summer) allows the characters to meander to their destined plot points for as long as the jokes will take them–which can be quite a while in some cases. But since the overall story isn’t in question, this time spent elsewhere doesn’t detract; it instead deepens the characters. The jokes aren’t revolutionary either, but they are spot on. Role Models is not experimental like some of Wain’s other comedy projects (Stella, The State). What it is, though, is well acted, well written and extremely polished. Most important of all, it’s really funny. Apatow should be flattered by the comparison..–Sean Gandert
29. Little EvilYear: 2017
Director: Eli Craig
Stars: Adam Scott, Evangeline Lilly, Bridget Everett, Clancy Brown, Sally Field, Owen Atlas
Rating: NR
Seven years after he gave us Tucker & Dale vs. Evil, one of the best horror comedies in recent memory, director Eli Craig has finally returned with another horror comedy exclusive for Netflix, Little Evil. An obvious parody of The Omen and other “evil kid” movies, Little Evil wears its influences and references on its sleeve in ways that while not particularly clever, are at least loving. Adam Scott is the sad-sack father who somehow became swept up in a whirlwind romance and marriage, all while being unfazed by the fact that his new step-son is the kind of kid who dresses like a pint-sized Angus Young and trails catastrophes behind him wherever he goes. Evangeline Lilly is the boy’s foxy mother, whose motivations are suspect throughout. Does she know that her child is the spawn of Satan, or as his mother is she just willfully blind to the obvious evil growing under her nose? The film can boast a pretty impressive supporting cast, from Donald Faison and Chris D’elia as fellow step-dads, to Clancy Brown as a fire-and-brimstone preacher, but never does it fully commit toward either its jokes or attempts to frighten. The final 30 minutes are the most interesting, as they lead the plot in an unexpected direction that redefines the audience’s perception of the demon child, but it still makes for a somewhat uneven execution. Tucker & Dale this is not, but it’s still a serviceable return for Craig. —Jim Vorel
30. MascotsYear: 2016
Director: Christopher Guest
Stars: Jane Lynch, Parker Posey, Fred Willard, Christopher Guest, Ed Begley Jr., Jennifer Coolidge, Harry Shearer, Zach Woods
Rating: NR
“Diminishing returns” might apply to Christopher Guest mockumentaries more than anything else on earth, but when you start from the unparalleled heights of Waiting for Guffman and Best in Show there’s a long way to plummet. To wit: Mascots, his latest film, is still full of great performances and good jokes. Much of his stock company returns for the Netflix exclusive (Parker Posey, Jane Lynch, Fred Willard and Ed Begley Jr. are still standouts), and although the absence of Eugene Levy and Catherine O’Hara is palpable, the ensemble is still stocked with capable improvisers. The satire isn’t as sharp as his earlier films, but there’s still an endearing goofiness at the movie’s heart.—Garrett Martin
31. Wine CountryYear: 2019
Director: Amy Poehler
Stars: Rachel Dratch, Ana Gasteyer, Amy Poehler, Maya Rudolph, Paula Pell, Emily Spivey, Tina Fey, Jason Schwartzman, Cherry Jones
Rating: R
As much of a vacation for its cast as a movie, Amy Poehler’s Wine Country is a low stakes sketch of a movie that gets by on charisma and sweetness. Poehler and a crew of fellow Saturday Night Live vets—including Rachel Dratch, Maya Rudolph, Ana Gasteyer and Tina Fey, as well as former SNL writers Paula Pell and Emily Spivey—play a group of friends touring California’s wine country on a 50th birthday trip. They’re each in their own way dealing with their own midlife crises and disappointments, and the ways they discuss and relate to them are both funny and realistic. It’s essentially a woman’s take on the kind of shaggy hang-out comedy Adam Sandler’s been making with his friends for decades, and with the requisite differences in taste and perspective you’d expect from that comparison. Wine Country is perfectly fine.—Garrett Martin
32. Eurovision Song Contest: The Story of Fire SagaYear: 2020
Director: David Dobkins
Stars: Will Ferrell, Rachel McAdams, Dan Stevens, Pierce Brosnan
Rating: PG-13
Eurovision Song Contest: The Story of Fire Saga is—let’s be honest here—a bit on the thin side, and a little confusing. It’s got just enough sincerity to undermine its own satirical impulses and just enough pandering snark to undermine its own sincerity. It runs long, and it leans on a trope, Ferrell’s master trope and the common denominator in most of his best performances—the lovable but fundamentally clueless and self-absorbed man-baby who can’t get out of his own way. It’s a trope that, thanks to Ferrell himself, we have mined pretty thoroughly in comedy over the last few decades. And yet, even as Eurovision Song Contest makes a number of perplexing moves in its two-hour-plus runtime, you kind of can’t help rooting for it, and for its principal characters, because its refusal to be cynical operates as a vital, oxygenating escape hatch right now.—Amy Glynn
33. Vampires vs. the BronxYear: 2020
Director: Osmany Rodriguez
Stars: Jaden Michael, Gregory Diaz IV, Sarah Gadon, Shea Whigham, Method Man, Chris Redd
Rating: PG-13
Vampires have historically been used as a metaphor for practically any societal evil you can think of in cinema, but the “vampire as gentrification allegory”? Now that’s a new one. And that’s what you’ll see in Netflix’s Vampires vs. The Bronx. It makes its political message abundantly clear. These are indeed vampiric real estate developers, intent on snapping up properties like the neighborhood courthouse, which is immediately reimagined as an upscale condo development titled “The Courthaus.” A bit on the nose, perhaps, but pretty funny at the same time.—Jim Vorel