You gotta learn from the churn. Netflix adds and loses movies every month, throughout every month, even, meaning a list like this is never truly done. You can’t be comprehensive about something that’s always changing, always getting better or getting worse or even just staying the same but different, somehow.
October is a good month for new comedies on Netflix. We’ll miss Trading Places and The Commitments and Moonrise Kingdom, but some all time classics are now streaming here, both movies returning to Netflix after brief absences and favorites that haven’t been on Netflix for years, if ever. Two of our top three weren’t on Netflix a month ago—Blazing Saddles and Monty Python’s The Life of Brian. Our top ten is 40% different than it was a month ago, and that’s almost entirely because of additions and not subtractions. Again: this is a good month for comedies.
If you’re looking for something hilarious to wind down with at the end of a tough work day, or a top shelf chuckler to keep your mind off how you haven’t Netflix and chilled in so long that “Netflix and chill” was still a thing people actually said at the time, let this list guide you right and true.
(Oh, and the standard reminder: although I do consider the overall quality of the movie when I make this list, my main concern is how much it makes me laugh. We’re looking at the quality of the comedy more than the craftsmanship of the film, although both are considered. Yes, it’s a highly scientific process.)
40. Nacho Libre
Director: Jared Hess
Jared Hess’s mannered, overly calculated goofiness can be an acquired taste, and it’s definitely one I, personally, have not been able to cultivate. That silliness is on full display in Nacho Libre, a lucha libre comedy with Jack Black as an orphanage employee who wrestles under a mask at night. Black fully commits to the role, of course—full commitment is Black’s entire thing—and that helps carry some of the movie’s more annoying aspects. Older wrestling fans (and Jim Cornette) might appreciate that it keeps total kayfabe—Nacho’s matches are presented as real competitions, which fits the movie’s dusty, sepia-toned take on the ‘70s.—Garrett Martin
39. Game Over, Man!
Director: Kyle Newacheck
Your response to this Netflix Original will hinge almost entirely on how you feel about Workaholics. This is basically a Workaholics movie, after all—not just one made by and starring that show’s cast (Adam DeVine, Anders Holme, Blake Anderson and Newacheck), but a movie that could’ve been made by the stoner slacker characters they played in Workaholics. It’s Die Hard with three stoner slacker videogame designers playing John McLane, and it’s exactly as shaggy, self-indulgent and tossed-off as you’d expect. It’s also really funny, if you appreciate the kind of comedy these guys do—vulgar, lightly absurd, occasionally mean-spirited, but rarely cynical or pretentious.—Garrett Martin
38. Band of Robbers
Directors: Aaron Nee, Adam Nee
As strong as the talent is in front of the camera (including the comedic sidekick duo of Hannibal Buress and Matthew Gray Gubler), consider the talent behind it even more. The Nees know their stuff, whether they’re setting up a punch line (of which Band of Robbers has many) or composing countless lovely shots in widescreen. They’ve made a film that’s as hilarious as it is beautiful. As Huck himself might say, it’s nothin‘ but magic.—Andy Crump
Director: Michael Dowse
You’d think Slap Shot would’ve said all there is to say about violence as a crucial marketing tool for minor league hockey, but Goon carves out its own nook in the sports comedy pantheon thanks to a funny script from Jay Baruchel and Evan Goldberg and fine performances from Seann William Scott and Liev Schreiber. A sequel is actually being released a week from the day this list was originally published in March 2017.—Garrett Martin
36. Little Evil
Director: Eli Craig
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
35. Bad Santa
Director: Terry Zwigoff
Billy Bob Thornton is sublimely degenerate, as only he can be, but the film’s ending has one of the most redemptive turns this side of It’s A Wonderful Life. A true masterpiece of a dark comedy, in Bad Santa we see the titular Anti-St. Nick pee himself, get wasted, swear at kids, disrespect authority and plan on robbing the very mall in which he (barely) works. That the aforementioned Bad Santa is not just a vulgar caricature is testament to Thornton’s these-are-the-facts deadpan, countered by two brilliant supporting performances from the late greats John Ritter and Bernie Ma, as well as Thornton’s genuinely touching rapport with innocent cherub Thurman Murman (Brett Kelly). —Greg Smith
Director: Christopher Guest
“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
33. Magic Mike
Director: Steven Soderbergh
Hot producer-star Channing Tatum draws from his personal history for this raucous comedy-drama set in Tampa’s Xquisite Male Dance Revue. Tatum worked as a stripper for eight months early in his career, and if Magic Mike is any indication, it was a good time for both the ladies and the performers—the movie certainly is. Channing plays the titular main attraction at a weekend dive run by onetime-stripper-turned-manager Dallas (Matthew McConaughey). Mike is a popular performer, but stripping three nights a week doesn’t pay the bills on his swank beachfront pad and brand-new pickup truck, so he makes ends meet by working a construction gig. He’s also got a couple of entrepreneurial enterprises on the side, including a detailing business that may or may not actually have customers and a dream to custom-build furniture full-time. The guys’ hands-on performances, choreographed by Alison Faulk, are enthusiastic and energetic, if not always polished, with indelible set pieces like the part-Singin’ in the Rain, part-Matrix treatment of “It’s Raining Men” that introduces us to the act. What you may not have even known you wanted until you got it is a solo by McConaughey, an electrifying turn that marks the climax of the action. McConaughey is perfectly cast to begin with but then turns around and makes the role his own, even incorporating an allusion to his infamous bongos incident. He’s sleazy yet sexy, equally alluring to the women he services and the men he employs. The ladies in the small packed house go wild for these guys, and their excitement is infectious. Along with a solid script by Tatum’s producing partner Reid Carolin, director-cinematographer Steven Soderbergh (who took a low-budget, highly experimental look at the life of a high-end call girl in The Girlfriend Experience) brings a warm golden aesthetic that’s at once polished and serendipitous. The way the sunlight dapples the actors’ bodies during a sunset beach scene is particularly lovely. But Magic Mike would hardly be as magical without Tatum, whose good looks, athletic physicality, easygoing charm and heart-on-his-sleeve sincerity are as seductive to moviegoers as to the women he dances for on-screen. —Annlee Ellingson
32. Up in the Air
Director: Jason Reitman
Ryan Bingham (George Clooney) lives his life traveling, and he loves it, even though his job is to fire workers for employers who can’t break the news themselves. The gig’s a downer, but at least he gets to fly. His remote boss is played by the great Jason Bateman, Vera Farmiga plays a fellow traveler, and when these actors pair off they’re fantastic. The film is primarily a portrayal of Bingham’s isolation and the depressing circumstances of his job, and in doing so provides a spot-on illustration of the the life of the jaded business traveller who knows his way around an airport better than his own home. —Ryan Bort
31. Tucker & Dale vs. Evil
Director: Eli Craig
Let’s face it, hillbillies and their ilk have been getting the short end of the pitchfork in movies since the strains of banjo music faded in 1972’s Deliverance. And whether due to radiation (The Hills Have Eyes) or just good old determined inbreeding (Wrong Turn and so, so many films you’re better off not knowing about), the yokel-prone in film have really enjoyed slaughtering innocent families on vacation, travelers deficient in basic map usage skills, and, best of all, sexually active college students just looking for a good time. But fear not, members of Hillbillies for Inclusion, Consideration & Kindness in Screenplays (HICKS)—writer/director Eli Craig has your hairy, unloofahed back. His film, Tucker & Dale vs. Evil, answers the simple question: What if those hillbillies are just socially awkward fellows sprucing up a vacation home and the young college kids in question are just prone to repeatedly jumping to incorrect, often fatal, conclusions? Think Final Destination meets the Darwin Awards.—Michael Burgin