Holy crap: the Monty Python movies aren’t on Netflix anymore.
Holy Grail and Life of Brian were numbers one and two on this list for, like, five years now—since whenever Netflix announced a longterm deal to host (most) of the Monty Python catalogue. That deal finally ended, leaving a gaping whole in Netflix’s increasingly lackluster collection of comedies. Bummer—guess you’ll just have to hit up one of the other 28 streaming services you subscribe to for something funny tonight.
Okay, that’s an overstatement; there are still a lot of good comedies on Netflix right now, including Netflix originals like Hit Man and Glass Onion. Instead of scrolling endlessly through that app, looking for the right movie for 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.
1. Groundhog Day
Year: 1993
Director: Harold Ramis
Stars: Bill Murray, Andie MacDowell, Chris Elliott, Brian Doyle Murray
Rating: PG
In the rich vein Edge of Tomorrow and Source Code, Groundhog Day stars Bill Murray as Phil Connors, a rude, unhappy man who, after spending the day covering the news of Punxsutawney, Pennsylvania’s groundhog celebration, wakes up to relive the day once more. There’s little explanation as to why this happens, but Groundhog Day strips back all the mysteriousness and pretention of time travel as a concept to celebrate the hilariously mundane. It also helps that this film is a single-serve capsule of Bill Murray, America’s Greatest-of-All-Time Comic Sweetheart, at his very best.
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2. Wallace & Gromit: Vengeance Most Fowl
Year: 2024
Director: Nick Park, Merlin Crossingham
Stars: Ben Whitehead, Peter Kay, Lauren Patel, Reece Shearsmith
Rating: PG
It’s a testament to the effectiveness of an animated story if it can immerse you in its setting and familiarize you with the essence of its characters in a matter of minutes, even if the setting and characters in question are beloved icons that are nevertheless almost totally unknown to the viewer. And that makes the instantly approachable nature of creator Nick Park’s work all the more apparent in the upcoming, Netflix-hosted feature film Wallace & Gromit: Vengeance Most Fowl–within minutes of sitting down to stream a press preview, it began to feel like I’d known the titular duo for decades already. That’s how winningly and simply effective the archetype of these characters remains to this day–it doesn’t matter if you don’t know a thing about them; they still win you over immediately.
This kind of joyful, cheerful excess is the through-line of Wallace & Gromit: Vengeance Most Fowl, from the duo’s massively overengineered home filled with gadgets to solve nonexistent problems, to the steadily mounting action sequences that make up the film’s third act, the highlight of which involves a slow-speed canal boat chase that somehow builds itself to life-or-death stakes. The light satire on technological dependency, meanwhile, is appreciated but almost unnecessary in comparison with the simple joys of the lovingly detailed stop-motion animated movements and expressiveness. The film’s entire arc, in fact, is more or less entirely predictable, but it just doesn’t matter–it’s an old-fashioned charmer that only registers as that much more refreshing for the lack of similarly animated fare in the modern industry. And yes, that includes Aardman Animations Limited’s own disappointing return to Chicken Run with last year’s Dawn of the Nugget. Unlike that would-be franchise, the central, wholesome allure of Wallace & Gromit remains undiminished. —Jim Vorel
3. Shiva Baby
Year: 2021
Director: Emma Seligman
Stars: Rachel Sennott, Molly Gordon, Polly Draper, Fred Melamed, Danny Deferrari, Dianna Agron
Rating: NR
Marvelously uncomfortable and cringe-inducingly hilarious, Emma Seligman’s Shiva Baby rides a fine line between comedy and horror that perfectly suits its premise—and feels immediately in step with its protagonist, the college-aged Danielle. Played by actress/comedian Rachel Sennott, already messy-millennial royalty by virtue of her extremely online comic sensibility, Danielle is first glimpsed mid-tryst, an unconvincing orgasm closing out her perfunctory dirty talk (“Yeah, daddy”) before she dismounts and collects a wad of cash from the older Max (Danny Deferrari). Though it’s transactional, as any sugar relationship tends to be, Danielle seems open to discussing her nebulous career aspirations with Max, and he gives her an expensive bracelet—suggesting a quasi-intimate familiarity to their dynamic, even if the encounter’s underlying awkwardness keeps either from getting too comfortable. As such, it’s a smart tease of what’s to come, as Danielle schleps from Max’s apartment to meet up with her parents, Debbie (Polly Draper) and Joel (Fred Melamed, naturally), and sit shiva in the home of a family friend or relative. That Danielle’s unclear on who exactly died is a recurring joke, and a consistently good one, but there’s little time to figure out the details before she’s plunged into the event: A disorienting minefield of small talk, thin smiles and self-serve schmear. You don’t have to be Jewish to appreciate the high anxiety and mortifying comedy of Seligman’s film, though it helps. Underneath all the best Jewish punchlines lies a weary acknowledgement of inevitable suffering; the Coen Brothers knew this in crafting A Serious Man, their riotous retelling of the Book of Job, and Seligman knows it in Shiva Baby. That the climax involves shattered glass, helpless tears and a few humiliations more marks this as one of the most confidently, winningly Jewish comedies in years.—Isaac Feldberg
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4. Death Becomes Her
Year: 1992
Director: Robert Zemeckis
Stars: Meryl Streep, Goldie Hawn, Bruce Willis
Rating: PG-13
I adored Death Becomes Her when I first saw it as a child, but I only came to appreciate (what surely resonated for me then as) the film’s gay sensibility as an adult. I wanted to live like Isabella Rosselini, dripping in jewels (and nothing else), eternally beautiful and young, attended by a beefcake houseboy in her LA mansion. Fashion, location and taste may change, but the outlines of our desires are a constant, no? I still delight at the razor sharp barbs that fly between aging movie star Madeline (Meryl Streep) and her novelist friend Helen (Goldie Hawn), sterling examples of the acerbic queer humor in which the side-splitting takedown is also an act of love. It’s no surprise that the film has been much adored by the drag community, who find in Streep and Hawn rich possibilities for diva camp. Death Becomes Her also featured ambitious special effects that lent the movie a wonderful surrealism, only enhancing its comedy. I’d rather watch Hawn emerge out of that bloody Greystone fountain, the gaping hole in her stomach framing Streep and Willis like a family portrait, than Robert Patrick oozing into shape as the T-1000 in Terminator 2, which came out a year earlier and set a new standard. If you haven’t seen it, you should. But first, a warning—“NOW a warning?!”—you’ll be quoting it for weeks to come. —Eric Newman
5. The Mitchells vs. The Machines
Year: 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
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6. 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
7. Dolemite Is My Name
Year: 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
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8. This Is the End
Year: 2013
Directors: Evan Goldberg, Seth Rogen
Stars: James Franco, Jonah Hill, Seth Rogen, Jay Baruchel, Danny McBride, Craig Robinson, Michael Cera, Emma Watson
Rating: R
Too often, Hollywood comedies aimed at a male audience skew more towards the single-digit side of the age scale. Yet there’s a pretty potent distinction between puerile and “late-juvenile” humor. The former—all fart, poop and pratfall—is the stuff that the eye rolls of girlfriends and wives is made of (not to mention a good portion of Adam Sandler and Kevin James’ careers). But the latter, done right, is an equal opportunity amuser. (Oh, eyes may still roll, but they do so while laughing.) Fueled by a mercilessly self-skewering ensemble effort from its principles (Craig Robinson, Danny McBride and Jonah Hill round out the core cast), the humor of This Is the End goes turbo as soon as the End is near, providing scene after scene that is dependably funny and frequently riotous. In comedies especially, the “actors starring as themselves” approach is so often more painful than funny, especially when a brand-conscious star betrays an ego-tinged reluctance to make fun of oneself. The stars and bit players of This Is the End show no such inhibitions. (In fact, Michael Cera seems intent on presenting the worst—though still hilarious—version of himself possible.) If anything, this willingness to mock themselves makes the characters all the more endearing, especially as the initial bro-mance between principles Jay Baruchel and Seth Rogen reasserts itself amid flames, desperation and demon cocks. As over the top as many of its scenes are, it’s hard not to credit the apocalypse itself for This Is the End’s sustained hilarity. Though plenty of the film’s scenes possess an honed improv feel much like the extemporaneous riffing of Anchorman, they are also usually more focused—in terms of plotting, there’s so little time to waste when the end is nigh. —Michael Burgin
9. Idiocracy
Year: 2006
Director: Mike Judge
Stars: Luke Wilson, Maya Rudolph, Dax Shepard, Terry Crews
Rating: R
Idiocracy’s dystopian setting is based on the idea of runaway “dysgenics,” the opposite of selective breeding: the inverse of natural selection, once the intelligent segment of the population gets “outbred” by the stupid. It’s an interesting idea to drop on Everyman Joe Bauers (Luke Wilson), who arrives as a time traveler from 500 years earlier only to have himself proclaimed as the smartest man in creation. The average person in this setting, though, is facing a rather featureless, bland and frankly obnoxious day-to-day life, with a crippled economy, food shortages and poor mental and physical health. The upside? They’re mostly too stupid to notice or care theirs is an existence of boring, mushy pablum. Can this society be saved before it crumbles into dust? —Jim Vorel
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10. Bad Trip
Year: 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.–Natalia Keogan
11. The Other Guys
Year: 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
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12. Hit Man
Year: 2024
Director: Richard Linklater
Stars: Glen Powell, Adria Arjona, Austin Amelio, Retta
Rating: R
Armed with the kind of star wattage capable of outshining his co-stars, Glen Powell has cemented himself as a leading man. With the raucous comedy Hit Man (which he co-wrote with director Richard Linklater), Powell crafts a character that can ground its delightful and relentless series of plot twists. While Linklater and Powell’s last collaboration worked under the guise of an ensemble in Everybody Wants Some!!, Powell is the definitive protagonist of Hit Man. Gary (Powell) is a bumbling, lovable philosophy professor who works part-time with the undercover division of the New Orleans police department. He loves his cats, has a good relationship with his ex-wife and drives a sturdy, practical Honda Civic. When fellow detective Jasper (Austin Amelio), undercover as a hitman, is pulled from a case for misbehavior, Gary steps in, relishing the chance to immerse himself in another life, free from moral reasoning and the trappings of normality. Once he encounters the sweet and desperate Madison (Adria Arjona), who wants to rid herself of an abusive, domineering husband, his life spins into chaos. While the film weaves together colorful, tonally specific threads with relative ease, it is dominated by its romantic and comic impulses, following Madison and Gary’s relationship with unwavering focus. This requires unbidden chemistry between the two leads, a multi-hyphenate source of energy that both insulates them and propels the story forward. Powell and Arjona are up to the task, gravitating towards each other and leaning into every suggestive conversation with startling ease. Gary’s lessons in philosophy slowly coalesce with his personal experiences in Carrie Bradshaw-esque fashion. It is here that Hit Man feels somewhat shallow and underdeveloped, trying to shoehorn grander life lessons into a relatively simple relational set-up. While the ambition of such a storytelling move isn’t totally unwelcome, it does take the audience on an unnecessarily bumpy ride, forcing them to ascribe deeper meaning to a purely physical, chemistry-riddled expression of cinema. Arjona and Powell leave as the victors of this light excursion, following in the footsteps of Henry Fonda and Barbara Stanwyck, with shades of Cary Grant coloring Powell’s playful physicality. He is spry and breezy, thriving in the informality of the silly premise he and Linklater rip from real life (Hit Man is based on a Texas Monthly article by the same man who covered Bernie’s real-life inspiration). With such charming old-school performances, Hit Man peels back the layers of genre to reveal something alive–lovely in its full-bodied animation.—Anna McKibbin
13. The Lovebirds
Year: 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
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14. Animal House
Year: 1978
Director: John Landis
Stars: John Belushi, Tim Matheson, John Vernon, Verna Bloom, Thomas Hulce, Donald Sutherland
Rating: R
Times change. A lot of what might’ve been acceptable when Animal House came out 40 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
15. Always Be My Maybe
Year: 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
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16. Between Two Ferns: The Movie
Year: 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
17. The Incredible Jessica James
Year: 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
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18. To All the Boys I’ve Loved Before
Year: 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
19. Dodgeball: A True Underdog Story
Year: 2004
Director: Rawson Marshall Thurber
Stars: Vince Vaughn, Ben Stiller, Christine Taylor, Rip Torn, Alan Tudyk, Justin Long, Stephen Root
Rating: PG-13
This idiotic sports romp from the height of Vince Vaughn’s reign over Hollywood comedy is a favorite of adolescent dudes of all ages. Is it dumb? Absolutely. Is it funny? Sometimes. Ben Stiller amps up his unlikable side to 11, while Stephen Root and Rip Torn put in the effort to make it work. They’re two great character actors who excel at either comedy or drama, and they keep Dodgeball humming along.–Garrett Martin
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20. Little Evil
Year: 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
21. 10 Things I Hate About You
Year: 1999
Director: Gil Junger
Stars: Julia Stiles, Heath Ledger, Joseph Gordon-Levitt, Larisa Oleynik, Larry Miller, Andrew Keegan, David Krumholtz, Susan May Pratt, Gabrielle Union
Rating: PG-13
Inspired by William Shakespeare’s The Taming of the Shrew, the 1999 teen comedy places Katherina and Petruchio into modern times as feminist Kat and bad boy Patrick, the breakout roles for Julia Stiles and Heath Ledger. (There are more than a few entries on this list drawn either directly or indirectly from the Bard’s comedies—that guy was a legend!) Patrick is initially paid to charm Kat as a part of an elaborate scheme by Cameron (Joseph Gordon-Levitt) to take out her younger sister, Bianca. Ledger wins Kat and the majority of the female population over during his marching band-accompanied stadium performance of Frankie Valli’s “Can’t Take My Eyes Off You.” Though Kat is angered when finding out about the deal that formed her relationship, the so-called shrew can’t stay mad for too long after receiving a sincere apology and brand new guitar from her Australian beau. With the perfect amount of ‘90s nonsense, the film ends with Letter to Cleo equally perfectly performing Cheap Trick’s “I Want You to Want Me” atop the roof of Padua High School. —Stephanie Sharp
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22. Mascots
Year: 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
23. Wine Country
Year: 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
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24. Eurovision Song Contest: The Story of Fire Saga
Year: 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
25. Vampires vs. the Bronx
Year: 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
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