The 40 Best Comedies on Netflix Right Now (January 2020)

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The 40 Best Comedies on Netflix Right Now (January 2020)

It’s a new year, and with it comes a whole new selection of comedy movies at Netflix, which totally overhauled its—

Okay, no. There was barely any action on the comedy front with Netflix this month, at least when it comes to movies. Three movies from this list departed at the end of 2019, one of which, Wet Hot American Summer, regularly cycles on and off the streamer—I imagine we can expect it back later this year. We lost another great one in the form of The Trip to Spain, the third of Steve Coogan, Rob Brydon ad Michael Winterbottom’s hilarious travelogues throughout Europe, and we also have to say farewell to the first Zombieland movie.

In exchange we got at least one true bona fide classic in the form of The Naked Gun. The last of the Zucker-Abraham-Zucker movies might also be the best (okay okay nothing’s better than Airplane), and its two sequels are both fine enough to kill 80 or so minutes (and are also now both on Netflix). Also making it onto the list this month is Chasing Amy—which really hasn’t aged that well, hence sliding in near the bottom of the list—and Kingpin, my personal favorite Farrelly Brothers movie. Otherwise this is essentially the same list as last month, which really only means anything if you somehow made it through the whole dumb thing in December. If you didn’t, you should still find some movies you haven’t watched recently below.

(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. Punch-Drunk Love is a perfect example, actually: yeah, it’s the best movie Adam Sandler has ever been in (yeah, it’s better than Uncut Gems), and it’s also very funny, but as silly and slapdash as they are, Billy Madison and Happy Gilmore are funnier movies, and would probably rank higher than Punch-Drunk Love if they were all still on this list. Judge me all you want.)

band of robbers movie poster.jpg 40. Band of Robbers
Year: 2016
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


goon movie poster.jpg 39. Goon
Year: 2011
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


little evil poster (Custom).jpg 38. Little Evil
Year: 2017
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


mascots movie poster.jpg 37. Mascots
Year: 2016
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


gotta-give.jpg 36. Something’s Gotta Give
Year: 2003
Director: Nancy Meyers
When you’ve got two giants of cinema exploring love later in life, you can expect great chemistry. That’s what happens with Jack Nicholson and Diane Keaton when the former breaks his streak of dating women in their twenties and falls for the mother of one of his girlfriends (Amanda Peet). With a soundtrack that spans genres and generations (Badly Drawn Boy, Jimmy Cliff, Paul Simon and Django Reinhardt, to name just a few), it’s a worthwhile take on the opposites-attract rom-com. —Josh Jackson


chasing-amy.jpg 35. Chasing Amy
Year: 1997
Director: Kevin Smith 
Anyone who has listened to enough hours of Kevin Smith’s podcasts or lengthy Q&A sessions knows that, behind his perpetual potty-mouth and flashes of egomania, Smith is a big softie at heart. After two films that reveled in crass slackerdom lifestyles (Clerks and Mallrats), Smith honed his writing voice for his third feature, Chasing Amy. The film stars Ben Affleck as an amateur comic book artist named Holden whose life is thrown awry when he meets a beautiful and vibrant girl named Alyssa (played by Smith’s then-girlfriend Joey Lauren Adams) and instantly falls in love. The problem? Alyssa is a lesbian. Crushed but still determined to spend time with her, Holden develops a close friendship with Alyssa, eventually telling her how he feels with the kind of speech that anyone who has ever experienced a hurtful bout of unrequited love has tossed around in their minds but never found the words to express.—Mark Rozeman


to-all-the-boys-ive-loved-before-poster.jpg 34. To All the Boys I’ve Loved Before
Year: 2018
Director: Susan Johnson
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. That TATBILB allows Lara Jean to accomplish this not in spite of but through the fanfic-favorite trope of “fake dating” another, less-risky letter recipient (Noah Centineo’s ridiculously charming Peter Kavinsky) is a story strength. Of course, all the emotional honesty in the world wouldn’t matter if TATBILB’s leads didn’t burn with chemistry. Fortunately, Lana Condor and Noah Centineo can get it. Condor and Centineo are undeniably the stars of the show, but TATBILB doesn’t rest on their charismatic laurels: Mahoro as Lucas is a foxy ball of friendliness; Madeleine Arthur as Lara Jean’s best (girl) friend, Chris, is just the wide-eyed punk weirdo she needs to be; Janel Parrish plays against type as the sweet and steel-spined Margot; Anna Cathcart steals every scene as Lara Jean’s meddling little sis, Kitty; and John Corbett plays the healthily engaged version of Kat Stratford’s single OBGYN dad with a discernible glee. 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


the waterboy poster.jpg 33. The Waterboy
Year: 1998
Director: Frank Coraci
I saw The Waterboy in the theater on opening night and I’m still not sure if it’s the last of the classic Adam Sandler films or the first of the not-so-classic Adam Sandler films. It’s clearly a step below Billy Madison, Happy Gilmore and The Wedding Singer, but it’s not quite as obnoxious or depressing as pretty much every other comedy he’s made since The Waterboy. His manchild antics didn’t feel redundant yet, and here he has the help of a great supporting cast that includes Kathy Bates, Jerry Reed, Henry Winkler and Blake Clark. (And, uh, the Giant from WCW, aka the Big Show, also has a ton of charisma in his brief cameo.) If you’ve always hated Sandler, you should avoid this one; if you recognize those first three films as the classics that they are, you’ll probably enjoy The Waterboy enough to not feel like you’re wasting your time.—Garrett Martin


the little hours movie poster.jpg 32. The Little Hours
Year: 2017
Director: Jeff Baena
Raunchy comedies rarely cop to such well-regarded sources: The Little Hours claims its basis lies within Giovanni Boccaccio’s 14th-century novella collection The Decameron, which makes its structure, bawdiness and characterizations all feel appropriately pithy. A series of incidents involving three horny nuns—Alessandra, Genevra, and Fernanda (Alison Brie, Kate Micucci and Aubrey Plaza, respectively)—and sexy farmhand-on-the-run Massetto (played by Dave Franco in full romance novel cover mode), The Little Hours finds writer/director Jeff Baena (who minored in Medieval and Renaissance Studies at NYU) delighting in updating The Decameron’s light and witty stories, helped by the fact that Boccaccio’s language was opposed to the flowery erudition of most of the period’s texts. That translates to a very vulgar (and funny) movie both indebted to and different than a wide spectrum of vulgar nun and nunsploitation movies that have spanned porn, hauntings and thrillers promising both nude nuns and big guns.—Jacob Oller


scott pilgrim poster.jpg 31. Scott Pilgrim vs. the World
Year: 2010
Director: Edgar Wright 
In many ways, all of Edgar Wright’s films have been romantic comedies in some fashion. Shaun of the Dead just happens to have zombies and Hot Fuzz just happens to have two males as its romantic leads. In this way, Scott Pilgrim vs. The World is perhaps Wright’s most clear-cut attempt at a rom-com. The story deals in a situation that is all too familiar in the relationship world—that of dealing with your romantic partner’s past romantic baggage. However, to paraphrase Scott Pilgrim’s own words, this emotional baggage (i.e., his girlfriend’s evil ex-boyfriends) is actively trying to kill him every 30 seconds. Just as in a musical, where characters start singing when emotions run too high, Scott Pilgrim dishes out videogame-style duels whenever emotional conflict comes into play. As heightened as Scott Pilgrim may seem at times, its undertones are all too relatable. —Mark Rozeman


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