Netflix’s movie selection is beginning to reflect the company’s priority on original programming. Many Netflix originals are included below, but sadly they can’t make up for the many older titles that have been removed from the service in recent years.
Originally, there would be 50 new additions to this list each month; presently, it’s more common to see only about 30. We might have to watch every single one of those Adam Sandler movies to determine if any of them are any good. The Mitchells vs. the Machines and Bad Trip are just two examples of the growing number of high-quality original Netflix productions. However, there is still a wide selection of comedies to enjoy, even if the roster isn’t as robust as it was, say, five years ago.
Anyway. We’ve heard enough rambling. Let’s spend a little time watching the most hilarious films now available on Netflix. For the purposes of these rankings, I am considering both how funny and how well crafted a picture is, so you may be surprised to see some comedies that were not well received by reviewers rank higher than some that were. It’s fair to say that I laugh more at movies like Mindhorn and Casa de Mi Padre (RIP!) than I do at, say, The Artist.
1: Monty Python and the Holy Grail
Directors: Terry Gilliam, Terry Jones
Stars: Graham Chapman, John Cleese, Eric Idle, Terry Jones, Connie Booth
Rotten Tomatoes Score: 97%
Runtime: 92 minutes
Unfortunately, Holy Grail’s enormous popularity has dulled some of its lusters. These days, when we hear phrases like “flesh wound,” “ni!” or “vast swaths of land,” our minds immediately jump to images of being subjected to a reenactment of the entire scene by a group of stupid, obsessed nerds.
Or, as is the case with me, of acting like a naive, obsessive nerd who repeats entire scenes to other people. But if you can put some distance between yourself and the film and watch it again years later, you may find new jokes that are just as funny as the ones everyone else knows. Holy Grail is, without a doubt, the most crammed with the humor of all of the Monty Python films.
It’s interesting, given the film’s fame, that we tend to overlook how many jokes there actually are in it. If you’ve completely lost interest in this film, I recommend watching it with commentary to appreciate it on a deeper level due to the creativity with which it was created. It looks nothing like a $400,000 film, and it’s fun to learn that several of the jokes (like the coconut halves) were inspired by the necessity to make do with minimal resources.
Surreal efficiency characterizes the first-time collaboration between Python member Terry Jones (who only occasionally directed after the group split up) and American outsider Terry Gilliam (who prolifically bent Python’s cinematic aesthetic into his own unique brand of nightmare fantasy). —Graham Tischler
2. Monty Python’s Life of Brian
Director: Terry Jones
Stars: Graham Chapman, John Cleese, Terry Gilliam, Eric Idle, Terry Jones, Michael Palin
Rotten Tomatoes Score: 95%
Runtime: 92 minutes
Life of Brian was pretty much made on George Harrison’s dime and is considered, even if apocryphally, by the legendary comedy troupe to be their best film (probably because it’s the closest they’ve gotten to a three-act narrative with obvious “thematic concerns”). Despite this, it was banned by a lot of countries at the tail end of the ’70s.
It’s possible that Monty Python’s Holy Grail sequel, Life of Brian, is the most politically charged film of its genre because it tells the story of a squeaky mama’s boy named Brian (Graham Chapman) who becomes mistaken for one of many messiah figures rising in Judea under the shadow of the Roman occupation (around 33 AD, on a Saturday afternoon-ish). British comedians took the story and slathered it in satire, tearing the romanticism and nobility right out of it. They poked fun at everything from violent revolutionaries to religious institutions to government bureaucracy, but they never once took aim at Jesus or his compassionate teachings.
Certainly, 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 popular take did so less than a decade later), but it does feel like the first to leverage human weakness against the absurdity of the Divine’s expectations. Heavily satirical, with targets ranging from Spartacus to Jesus of Nazareth as portrayed by Franco Zeffirelli, and supported by as many memorable lines as there are crucifixes in the picture (Brian’s similarly shrill mother yells to the crowd, “He’s not the Messiah.
As the title suggests (“He’s a really bad youngster! “), the film delves into Jesus’ life by focusing on the surrounding circumstances. Perhaps the term “virgin birth” was coined to conceal a Roman centurion’s sexual misconduct. Perhaps the only force that shapes reality is chance (and the conflict of social classes). Perhaps we need to raise the bar for what constitutes a miracle. Perhaps the one constant in history is that we idiots will continue to do idiotic things like whistling as we all die a pointless, fruitless death. Dom Sinacola
3. Mean Girls
Director: Mark Waters
Stars: Lindsay Lohan, Rachel McAdams, Lizzy Caplan, Lacey Chabert, Amanda Seyfried, Daniel Franzese, Tina Fey, Tim Meadows, Amy Poehler, Ana Gasteyer,
Rotten Tomatoes Score: 84%
Runtime: 97 minutes
Mean Girls has lasted so long not just because of its hilarious one-liners but also because it is a cinematic exaggeration of universal truth. With all the raging hormones, territorial desires, and cutthroat competition that comes with being a teenager, life might feel a lot like being on safari. And it’s true that adolescent females often act in a herdlike fashion, forming invisible bonds with other girls in an effort to win the approval of the popular ones. Mean Females, personified by Regina George, demonstrates how the beautiful girls are typically elevated to the position of Alpha, and how quickly such power may lead to arrogance. Words and phrases courtesy of Christina Newland
4: Ferris Bueller’s Day Off
Director: John Hughes
Stars: Matthew Broderick, Jeffrey Jones, Mia Sara, Alan Ruck, Jennifer Grey, Edie McClurg
Rotten Tomatoes Score: 80%
Runtime: 103 minutes
John Hughes’ zeitgeisty, fourth-wall-breaking homage to spoiled suburban kids vs stodgy adults introduced the world to Matthew Broderick as a genuine movie star and provided a chillingly prescient view into the future of Charlie Sheen, although in a small but amusing supporting role. Leaving the Breakfast Club aside, Bueller has perhaps held up the best, and without all the tormented pretentiousness, of all of Hughes’ 10 teen-centered Chicago area films. — Scott Wold
5. The Mitchells vs. The Machines
Director: Mike Rianda
Stars: Danny McBride, Abbi Jacobson, Maya Rudolph, Mike Rianda, Eric Andre, Olivia Colman, Fred Armisen, Beck Bennett
Rotten Tomatoes Score: 98%
Runtime: 109 minutes
The Mitchells vs. the Machines is the first animated film to depict a generational conflict in the style of a sci-fi carnival. In his first feature film, writer/director Mike Rianda (who, along with co-director Jeff Rowe, cut their teeth on the delightfully spooky, hilarious program Gravity Falls) successfully blends comedic, lovable, and terrifying elements.
It’s easy to get lost or overwhelmed by the dazzling sights and sounds, like the central family fighting on one side of the grudge battle in the title, but it’s also simple to leave with the spent glee of a long, weary theme park visit. In what is easily the year’s most kinetic and charming animated comedy, the genre-embedded family bursts through every filthy, jam-packed frame as if attempting to escape (which they often are). Jacob Oller
6. National Lampoon’s Christmas Vacation
Director: Jeremiah S. Chechik
Stars: Chevy Chase, Beverly D’Angelo, Randy Quaid, Diane Ladd, Juliette Lewis, Johnny Galecki, Julia Louis-Dreyfus
Rotten Tomatoes Score: 68%
Runtime: 97 minutes
Not that National Lampoon’s Christmas Vacation is a great choice for kids, but what did you expect? Clark (Chevy Chase), the head of the Griswold family, guides the family through a series of comedic mishaps as they do their best to celebrate a traditional Christmas in this John Hughes film.
The Griswolds don’t have much of a tradition-based repertoire, what with Randy Quaid’s character, Cousin Eddie, and the kids Audrey and Rusty (Juliette Lewis and Johnny Galecki). Even if you just watch Christmas Vacation once a year, you’ll find more and more to laugh at with each viewing. A. Black, A.
7. Sorry to Bother You
Director: Boots Riley
Stars: Lakeith Stanfield, Tessa Thompson, Armie Hammer, Stephen Yeun, Patton Oswalt, David Cross, Terry Crews, Danny Glover
Rotten Tomatoes Score: 93%
Runtime: 105 minutes
I Apologize for the Inconvenience In a way, it feels churlish to point out that the movie You ends up careening magnificently out of control since it has so many ideas bursting at the seams, so much ambition, and so much it so passionately wants to express. As if he didn’t know whether he’d ever be able to make another film, rapper and producer Boots Riley pushed all he had into his debut feature. This includes the good, the horrible, the spectacular, and the insane. In Sorry to Bother You, there are exciting times that will have you bouncing around the theater with glee. There are other parts where you’ll be left wondering what in the world possessed this nutcase to get a camera. (There are some very happy times in there, too.)
When compared to the latter, the former is overwhelmingly more numerous. Cassius (Lakeith Stanfield), a good guy whose life is slipping away, tries his hand at telemarketing and fails spectacularly (in a series of scenes in which his desk literally drops into the homes of whomever he is dialing) until a coworker (Danny Glover, interesting until the movie drops him entirely) suggests he use his “white voice” on calls. Stanfield suddenly adopts David Cross’s nasal tone and becomes a company superstar, allowing him to join the elite club of “Supercallers” who are sent to pursue the Glengarry leads.
That’s merely the jumping-off point: At work, we meet a revolutionary coworker (Stephen Yeun) trying to rile the workers into rebelling against their masters, a Tony Robbins-type entrepreneur (Armie Hammer) who may also be a slave trader, and Cassius’s radical artist girlfriend (Tessa Thompson) who wears earrings with so many mottos it’s a wonder she can hold up her head. Many more people exist, but only a subset of them are truly human. Quite an impressive film. Leitch, Will.
8. She’s Gotta Have It
Director: Spike Lee
Stars: Tracy Camila Johns, Spike Lee, John Canada Terrell, Tommy Redmond Hicks
Rotten Tomatoes Score: 91%
Runtime: 85 minutes
This low-budget, all-black debut from Spike Lee introduced him to the world as a fully-fledged talent, and it went on to become a landmark in the movement toward alternative filmmaking that characterized the ’80s.
With this brilliant, hilarious, and adventurous film, Lee gave the screen a new voice and level of realism that had hitherto been lacking. The underlying message, that women have as much right to a sexual life as men do and shouldn’t be treated differently because of it, is as timely today as it was when the film was released 30 years ago. In fact, Lee felt the film was so timely that he turned it into a Netflix series that debuted in 2017. —Greg Martin Garrett
9. When Harry Met Sally
Director: Rob Reiner
Stars: Billy Crystal, Meg Ryan, Carrie Fisher, Bruno Kirby
Rotten Tomatoes Score: 90%
Runtime: 96 minutes
The script by Nora Ephron for the story of Harry (Billy Crystal) and Sally (Meg Ryan) and their 12-year journey to couplehood is strong, and it thrives on and off of the surprising connection between its stars. (And with each new pair of romantic interests who see the diner scene for the first time, another woman laughs and another man sits silently, wondering what’s so amusing.) Author: Michael Burgin
10. Dumb and Dumber
Director: Peter and Bobby Farrelly
Stars: Jim Carrey, Jeff Daniels, Lauren Holly, Teri Garr, Karen Duffy, Mike Starr
Rotten Tomatoes Score: 68%
Runtime: 106 minutes
there Is a Particular Kind of Nihilism at Work in The Farrelly Brothers’ First Film, One that Celebrates Stupidity Above All Else. This Isn’t Because the Farrellys Value Ignorance Over Intelligence; Rather, It’s Because the Kind of Ignorance Inhabited by Lloyd (Jim Carrey, Beloved) and Harry (Jeff Daniels, Best Role of His Career) Has No Real Consequences. Harry and Lloyd Get Themselves Involved in A Kidnapping Caper Involving the Husband of Wealthy Heiress Mary Swanson Despite Their Lack of The Mental Capacity to Fully Comprehend the Vast World Around Them.
They Are Motivated Solely by Teenage Horniness and The Threat of Unemployment (along with The Image of A Decapitated Parakeet). It Turns out As One Might Imagine (in that It Doesn’t Turn Out, and That Doesn’t Important), but Not Before We Grow to Adore These Two Dummies, Which Makes the Sequel Feel Relentlessly Cruel. as A Result, It Shouldn’t Come as A Shock That The Vast Majority of Farrelly Films (with the exception of There’s Something About Mary) Have Not Held up Well Over Time: It’s Not Necessary for Hollywood to Produce Any More Films that Appear to Celebrate America’s Idiocy. Dom Sinacola
11:Hunt for The Wilderpeople
Director: Taika Waititi
Stars: Sam Neill, Julian Dennison, Rima Te Wiata, Rachel House, Oscar Kightley, Tioreore Ngatai-Melbourne, Rhys Darby
Rotten Tomatoes Score: 96%
Runtime: 101 minutes
Bella (Rima Te Wiata), the New Foster Parent, Doesn’t Exactly Win Ricky (Julian Dennison) Over with Her Awkward Remarks About His Weight at Their First Meeting. Youngster-Services Worker Paula (Rachel House) Paints Ricky as A Raging Wild Boy, Making One Fear for The Mother Who May Be in Over Her Head, and The Child’s Eventual Dominance. However, Bella’s Persistence and Gentleness Eventually Break Him Down.
and Despite His Early Efforts to Portray Himself as A Tough Guy Thanks to His Love of Gangsta Rap and Everything that It Entails, Ricky Turns out To Be Less of A Tough Cookie than Anyone Could Have Expected. Hunt for The Wilderpeople, Directed by Taika Waititi and Based on The Novel Wild Pork and Watercress by Barry Crump, Succeeds by Challenging Audience Expectations. the Film’s Grand-Adventure Aesthetic Reflects the Director’s Empathy for Ricky’s Naivete.
Hunt for The Wilderpeople Has the Feel of A Storybook Fable Thanks to Cinematographer Lachlan Milne’s Sweeping, Colorful Panoramas, and A Chapter-Based Narrative Structure, but Even the Film’s Most Whimsical Moments Have a Sense of Real Underlying Pain Thanks to The Warm and Amiable Dynamic Between Ricky and Hec (Sam Neill): Both of Them Are Strangers Yearning for A Place to Call Their Own. Fujishima, Kenji
Director: Kitao Sakurai
Stars: Eric Andre, Tiffany Haddish, Lil Rel Howery, Michaela Conlin
Rotten Tomatoes Score: 73%
Runtime: 84 minutes
Bad Trip’s Most Distinctive Feature Is the Portrayal of The People It Encounters. the Film Never Makes Fun of Or Degrades Its Characters; on The Contrary, Spectators Are Presented as More of A Righteous Tribunal than As Ordinary Crabs in A Bucket. This Is Perhaps Most Aptly Illustrated in A Scene with A Parking Lot Army Recruiter Who Politely Declines Andre’s Offer of A Blowjob in Exchange for Execution During a Profound Period of Hopelessness; the Reprehensible Behavior Showcased Always Originates 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.
Bad Trip’s Humour Is Grounded on Its Capacity to Generate a Response from The Audience, without Imposing Any Strict Emotional Requirements on The Characters. the Audience’s only Responsibility Is to React Honestly, Whether Their Feelings Are Rage, Irritation, Disgust, or Astonishment; the Professional Performers Will Take Care of Staying in Character for The Film’s Overall Plot and Making Sure the Staged Jokes Work Correctly. This Range of Feelings Is Integral to The Film’s Narrative and Contributes to Its Earnest Atmosphere. Even at Its Worst, It Manages to Surprise with Its Surprising Warmth, Thanks to The Presence of Good Samaritans Who Come in To Talk Characters Down from Their Ledges and End Their Public Fights.
13:Dolemite Is My Name
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
Rotten Tomatoes Score: 97%
Runtime: 118 minutes
Rudy Ray Moore (Eddie Murphy) Says This in Dolemite Is My Name: “i Want the World to Know I Exist.” the Objective of Global Consciousness Is Lofty, but It Didn’t Stop Moore from Attempting. Rudy Ray Moore Is a Man of Many Talents Who Hopes to Make a Name for Himself in The Comedy World. Moore Decides to Take and Improve upon The Material of Local Homeless Guy Rico (Ron Cephas Jones), Who Frequently Performs Stand-Up Comedy at The Place Where Rudy Works.
As Dolemite, a Slick, Vulgar Pimp Who Reeks of Self-Assurance, His “new” Stuff Is a Smash Hit at Local Nightclubs. Moore Eventually Gets a Record Deal for His Comedy Album, and It Becomes a Billboard Hit. Inspired, He Decides to Make a Film on The Dolemite Colony at His Own Expense. Dolemite Is My Name Revolves Around Eddie Murphy’s Charismatic Lead Character. the Actor Has Largely Avoided the Spotlight Since 2012, Often Going Years Between Filming Projects.
In 2016, He Made a Comeback in The Drama Mr. Church, Which Received Positive Reviews Largely Due to His Performance. Dolemite, Often Regarded as Murphy’s “comeback” Role, Sees Him in Fine Comedic Form, Taking on The Lead Character with Enthusiasm. He Accepts Moore’s Slightly Ridiculous Zeal and Can-Do Attitude Without A Trace of Mockery. for A Character Like Dolemite, so Strongly Ingrained in The Blaxploitation Era of The ’70s and Simply Plagued with So Many Stereotyped Traits, Murphy Succeeds by Being Serious, Even While Delivering Dolemite’s Raunchiest Lines.
He Reminds Us He’s One of The Finest at Combining Drama with Comedy. a Person Who Could Have Been an Insulting Caricature in The Wrong Hands, Dolemite, in Craig Brewer’s Film, Is so Much More; We Get Beneath the Surface of The Character, Exploring One Man’s Ambition for Popularity and The Entrepreneurial Risks He Took to Be the Talk of The Town. We Get a Film Befitting Moore’s Heritage While Simultaneously Reminding Audiences of The Star Power of Eddie Murphy. —Joi Childs
14. Hail, Caesar!
Directors: Ethan Coen, Joel Coen
Stars: George Clooney, Tilda Swinton, Josh Brolin, Ralph Fiennes, Jonah Hill, Alden Ehrenreich, Christopher Lambert, Channing Tatum, Scarlett Johansson
Rotten Tomatoes Score: 86%
Runtime: 106 minutes
The Period Zaniness of Joel and Ethan Coen’s Hail, Caesar! Is a Tribute to Old Hollywood—and Much More—as only They Can Achieve, Chronicling the Efforts of James Brolin’s Studio Scandal Fixer Through a Procession of 1950s Soundstages, Back Lots, and Performers. His Latest Possible Headline Concerns the Abduction of A Biblically Epic Movie Star—George Clooney Having a Helluva Good Time Performing His Best Chuck Heston/kirk Douglas Amalgam—by What Turns out To Be a Tea Sandwich-Serving Think Tank of Communists.
Other Subplots Feature Scarlett Johansson’s Starlet Plotting out Her Unwed Motherhood in The Public Light and The Cinematic Makeover of An Ignorant Cowboy by Ralph Fiennes’ Debonairly Enunciating Director, Laurence Laurentz. Channing Tatum Plays a Heavily Made-Up Matinee Star with Controversial Extracurricular Activities, and There Are Dueling Gossip Columnist Twins (Tilda Swinton Doing Double Duty), a Hapless Film Editor (Frances Mc Dormand), and Scattered Movies-Within-Movies.
the Movie Even Stops Halfway Through for A Thoroughly Enchanting—and Cheeky—gene Kelly-Styled Song and Dance Number. Most of The Primary Characters and Performances Are Direct Homages to Classic Hollywood Icons, and The Entire Cast Appears to Be Having Just as Much Fun as The Coen Brothers. Hail, Caesar! Isn’t Their Best Film, but It Has All the Hallmarks of A Joel and Ethan Coen Production: Beautiful Visuals, Lively Performances, and Plenty of Political, Religious, and Creative (sub)text to Satisfy Viewers Who Are Just as Cerebral and Nerdy as The Coen Brothers. —Amanda S. Schurr
Director: Sean Foley
Stars: Julian Barratt, Essie Davis, Richard McCabe, Alex Wyndham, Steve Coogan
Rotten Tomatoes Score: 92%
Runtime: 89 minutes
With His Chiseled Cheekbones, Glorious Mustache, and Uncommonly Sad Eyes, Julian Barratt Makes Richard Thorncroft, a Washed-Up Actor, Both Recognizable and Worthy of Empathy Despite His Arrogance and Stupidity. Aside from Barratt’s Charisma, the Rest of The Ensemble Is Solid as Well.
I Have No Problem with Steve Coogan (who Also Produced) Spending the Majority of His Time in Comedies (like The Other Guys, in The Loop, and Technically Hot Fuzz) Playing Small but Hilarious Roles. to Everyone’s Surprise, Kenneth Branagh Makes a Cameo Appearance as Himself in An Early Scene Where He Is Casting Richard in A Hamlet Adaptation; It’s Wonderful to See that He Can Take Some Fun in The Fact That He Is Still the Go-To Shakespeare Person. Mindhorn Is Obviously a Passion Project for Its Creators. Debra Krieger
16: The Love Birds
Director: Michael Showalter
Stars: Issa Rae, Kumail Nanjiani, Paul Sparks, Anna Camp, Kyle Bornheimer
Rotten Tomatoes Score: 65%
Runtime: 87 minutes
Michael Showalter’s Fun Romp, in Which a Contemporary, Mundane Couple Who Have Recently Broken up Gets Entangled in Unexpected Crime and Danger, Is an Update on The After Hours Formula. 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;
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. Date Night, Game Night, and Perhaps Even More Films with The Word “night” in The Title Are All Examples of Similar Films, but The Lovebirds May Be the Most Acute of The Genre Since Scorsese Sent Griffin Dunne Running Scared Through Mid-’80s Manhattan in New York City. —Greg Martin Garrett
17: Always Be My Maybe
Director: Nahnatchka Khan
Stars: Ali Wong, Randall Park, Keanu Reeves, Michelle Buteau, Vivian Bang, Karan Soni
Rotten Tomatoes Score: 89%
Runtime: 102 minutes
Always Be My Maybe Is a Romantic Comedy that Not only Lives up To the High Standards Set by Its Stars (Ali Wong and Randall Park), but Also Far Surpasses Them. the Pair (who Co-Wrote the Script with Michael Golamco) Portrays Childhood Friends Who Drift Apart After One of Them Becomes Involved in A Disastrous Teen Relationship. from There, Wong’s Sasha Goes on To Become a Celebrity Chef, While Park’s Marcus Stays at Home After His Mother’s Untimely Death and Works for His Father’s Blue Collar Business.
True, They Can Learn from One Another, but Always Be My Maybe Doesn’t Stop at A Blossoming Romance; Rather, It Embraces the Difficulties Inherent in Two Mature People with Separate Lives Deciding to Be Together and Working out How to Make It All Work. in Particular, It’s Important that Marcus and Sasha Encourage One Another’s Professional Pursuits Rather than Settling Down and Giving up Their Own Goals. the Stylish Film Never Slows Down from Its Pleasant Comedic Pace Maintained by Director Nahnatchka Khan, and There Is a Killer Cameo Appearance that You Do Not Want Spoiled. You Should Totally Tune in Right Now. I’m sorry, but I Have to Disagree with You, Allison Keene.
18: Between Two Ferns
Director: Scott Aukerman
Stars: Zach Galifianakis, Lauren Lapkus, Ryan Gaul, Matthew McConaughey
Rotten Tomatoes Score: 74%
Runtime: 82 minutes
Netflix Originals Are Often Criticized for Having a Low-Stakes Atmosphere, as Though They Were Updated Versions of The 1970s and 1980s Primetime Made-For-Tv Movies. Because “low Stakes” Has Always Been the Point of Zach Galifianakis’s Web Series, You Can’t Really Say that About Between Two Ferns: The Movie. in This Sketch from Funny or Die, Galifianakis and His Public Access Crew (among Them Lauren Lapkus) Travel Across the Country to Save Their Show and Make Zach a Real Late-Night Talk Show Host.
they Do a Variety of Interviews with Notable Figures Along the Route, Including David Letterman, John Legend, Chance the Rapper, Benedict Cumberbatch, Brie Larson, and Many More. (and Phoebe Bridgers and That Guy from The National Make an Appearance for Some Reason) the Script, Written by Scott Aukerman, Is as Ludicrous and Funny as You’d Imagine, and The Rest of The Cast Is Cooperative Enough to Keep Things Moving Along. the Movie Between Two Ferns Is the Citizen Kane of Pointless Long-Form Adaptations of Short-Form Web Series. —Greg Martin Garrett
19: The Incredible Jessica James
Director: Jim Strouse
Stars: Jessica Williams, LaKeith Stanfield, Noël Wells, Taliyah Whitaker
Rotten Tomatoes Score: 88%
Runtime: 85 minutes
In this role, Jessica Williams Portrays Jessica James, a Young Woman in Her Twenties Who Is Heartbroken Over a Relationship and Desperately Wants to See a Play Staged. the Ex? Damon, Portrayed by Lakeith Stanfield (Atlanta, Short Term 12), Who Just Won’t Leave Jessica’s Fantasies Alone. She Begins to Reevaluate Her Love Life While Holding to Her Life Ambitions After Meeting a New Fling, Played by The Comically Refreshing Chris O’Dowd.
what Are the Signs that You’ve Finally Made It? the Film’s Comedic Elements Are Grounded on An Examination of The Kinds of Existential Questions that Plague Any Creative Person, or Anyone for That Matter. We All Know Williams Is Funny Because of Her Stint on The Daily Show. She’s Strong in Her Own Right, Displaying the Kind of Feminine Strength that This Age Desperately Needs, and The Kind of Dedication to Her Work that Runs Counter to The Stereotype of The Apathetic Millennial. the Movie Is Great for A Night in With the Girls or Guys, Munching on Popcorn and Drinking Beer. –Meredith Alloway
20: To All the Boys I’ve Loved Before
Director: Susan Johnson
Stars: Lana Condor, Noah Centineo, Janel Parrish
Rotten Tomatoes Score: 97%
Runtime: 100 minutes
The Latest Breakout Smash on The Teen Circuit, to All the Boys I’ve Loved Before, Is an Outstanding Piece of Work. for A Movie Aimed at Teenagers, It Is Not Very Good. It Is Not Outstanding “for a Romantic Comedy.” for A Movie, It Works Wonderfully. Tatbilb Completely Flips the Traditional 80/20 Rule on Its Head: In The Opening Twenty Minutes, Lara Jean’s (Lana Condor) Five Secret Love Letters to Her Various Childhood Crushes Are Stolen and Sent Out, Including the One to Her Closest Friend and Neighbor Josh (Israel Broussard), Who Also Happens to Be Her Elder Sister’s Barely Ex-Boyfriend.
Because Any Hopes of Lara Jean Indulging in Prolonged Emotional Dishonesty Are Quickly Shattered, She Is Free to Embrace Some Truly Radical Emotional Honesty in The Film’s Final Eighty Minutes. It’s Impossible to Overestimate the Significance of Lara Jean and Her Sisters Being Half-Korean and The Majority of The Ensemble (along with Mahoro) Being Non-White, but It’s Also Not the Most Amazing Thing About the Cast. Lara Jean’s Universe Is Full with Believable Teenagers And, by Extension, Love, Which Is Refreshing in A Genre Where the Characters May Sometimes Veer Too Far Into Caricature. A. Gunderson, Alexis
21. Little Evil
Director: Eli Craig
Stars: Adam Scott, Evangeline Lilly, Bridget Everett, Clancy Brown, Sally Field, Owen Atlas
Rotten Tomatoes Score: 92%
Runtime: 94 minutes
Director Eli Craig Has Back with Another Horror Comedy for Netflix, Seven Years After He Gave Us Tucker & Dale vs. Evil, One of The Best Horror Comedies in Recent Memory. Little Evil, a Loving if Not Particularly Smart Parody of The Omen and Similar “evil Kid” Films, Wears Its Influences and References on Its Sleeve.
Adam Scott Is the Depressed Single Dad Who Got Married Quickly and Seems Unconcerned by The Fact that His New Stepson Dressed Like a Miniature Angus Young and Leaves a Wake of Disaster Wherever He Goes. the Boy’s Hot Mother, Played by Evangeline Lilly, Has Questionable Intentions Throughout the Film. Is She Oblivious to The Obvious Evil Being Nurtured in Her Womb, or Does She Not Know That Her Child Is the Offspring of Satan?
although It Features a Strong Supporting Cast, Including Clancy Brown as A Hellfire and Brimstone Preacher and Donald Faison and Chris D’elia as Their Fellow Stepfathers, the Film Never Goes All the Way with Either Its Comedic or Terrifying Intentions. in Spite of Its Uneven Execution, the Film’s Final 30 Minutes Are the Most Engaging Because They Take the Story in An Unexpected Direction and Force Viewers to Rethink Their Impression of The Demon Child. This Is Not Tucker & Dale, but It’s Not a Bad Comeback for Craig, Either. Jim Vorel
Director: Christopher Guest
Stars: Jane Lynch, Parker Posey, Fred Willard, Christopher Guest, Ed Begley Jr., Jennifer Coolidge, Harry Shearer, Zach Woods
Rotten Tomatoes Score: 49%
Runtime: 120 minutes
Despite the fact that The Law of “diminishing Returns” May Be More Applicable to Christopher Guest’s Mockumentaries than Any Other Field, There’s a Long Way to Fall from The Dizzying Heights of Waiting for Guffman and Best in Show. Case in Point: Even in His Most Recent Picture, Mascots, He Continues to Deliver Excellent Performances and Hilarious Humor.
Although the Absence of Eugene Levy and Catherine O’Hara Is Evident, the Ensemble Is Still Loaded with Skilled Improvisers, and Many of His Stock Company Return for The Netflix Exclusive (Parker Posey, Jane Lynch, Fred Willard, and Ed Begley Jr. Are Still Standouts). Even While the Satire Isn’t as Biting as It Was in His Previous Films, There’s Still a Certain Goofiness to The Film that Makes It Enjoyable. —Greg Martin Garrett
23: Wine Country
Director: Amy Poehler
Stars: Rachel Dratch, Ana Gasteyer, Amy Poehler, Maya Rudolph, Paula Pell, Emily Spivey, Tina Fey, Jason Schwartzman, Cherry Jones
Rotten Tomatoes Score: 65%
Runtime: 100 minutes
Amy Poehler’s Wine Country Is a Low-Stakes Sketch of A Movie that Gets by On Charisma and Warmth, and It Feels as Much Like a Vacation for Its Ensemble as A Movie. Poehler and A Group of Fellow Saturday Night Live Vets Play a Group of Friends Touring California’s Wine Country for Poehler’s 50th Birthday. the Cast Includes Rachel Dratch, Maya Rudolph, Ana Gasteyer, and Tina Fey, as well as Former Snl Writers Paula Pell and Emily Spivey.
the Ways in Which They Discuss and Relate to Their Midlife Crises and Disappointments Are Both Humorous and Realistic. It’s Basically a Female Take on The Same Sort of Shaggy Hang-Out Comedies that Adam Sandler and His Pals Have Been Making for Decades, Albeit with The Obvious Differences in Style and Point of View. Everything Is Wonderful in Wine Country. —Greg Martin Garrett
24. Eurovision Song Contest: The Story of Fire Saga
Director: David Dobkins
Stars: Will Ferrell, Rachel McAdams, Dan Stevens, Pierce Brosnan
Rotten Tomatoes Score: 64%
Runtime: 121 minutes
Let’s Be Honest: Eurovision Song Contest: The Story of Fire Saga Isn’t Exactly a Meaty Read and Has Its Fair Share of Muddled Moments. Its Self-Deprecating Satirical Impulses Are Thwarted by An Equal Amount of Earnestness, While Its Self-Deprecating Snarkiness Is Similarly Undone by Its Own Pandering.
It’s a Bit Too Long, and It Relies on Ferrell’s Signature Character Type—the Beloved but Essentially Dumb and Self-Absorbed Man-Baby Who Can’t Get out Of His Own Way—which Is Also the Common Denominator in Most of His Best Performances. Since Ferrell Popularized the Device, Comedians Have Used It Extensively Throughout the Past Few Decades. Eurovision Song Contest’s Reluctance to Be Cynical Acts as A Critical, Oxygenating Escape Hatch Right Now, Even if It Does Lead to Some Confusion Throughout the Film’s Two Hours and Beyond. — Glynn, Amy
25. Vampires vs. the Bronx
Director: Osmany Rodriguez
Stars: Jaden Michael, Gregory Diaz IV, Sarah Gadon, Shea Whigham, Method Man, Chris Redd
Rotten Tomatoes Score: N/A
Runtime: 85 minutes
The Cinematic Vampire Has Been a Symbol for Virtually Every Social Ill Imaginable, but The Gentrification Vampire? Something Like that Has Never Been Heard Before. Also, This Is What You Can Expect to See in The Netflix Original Series Vampires vs. The Bronx.
Its Political Message Is Unmistakable. the Local Courthouse, for Example, Has Been Purchased by These Vampire Developers with The Intention of Transforming it into a luxury apartment complex called “The Courthouse.” This may be a bit obvious, but it’s also really funny. Jim Vorel