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The Best Comedy Movies On Netflix Right Now (December 2023)

This December remember what really matters: family, friends, and (guf-)faws. What's better than nesting up with your loved ones on the couch and watching something truly hilarious? And when it comes to great comedies, Netflix has you covered, from classics like The Jerk and Anchorman, to Netflix originals like The Mitchells vs. The Machines and Glass Onion. Instead of scrolling endlessly through that app, looking for the right movie so long that you fall asleep halfway through, you should consult our quick and easy guide to the best comedy movies on Netflix. We even link right to 'em, because we're polite like that.

So let's take a quick trip through the funniest movies on Netflix right now. For the purpose of these rankings I'm looking at how funny a movie is alongside how well made it is—meaning you might see some absolutely hilarious comedies that aren't that well respected by critics coming in higher than better reviewed, more technically proficient films.

Here are the best comedies on Netflix as of December 2023.

1. Monty Python and the Holy GrailYear: 1975Directors: Terry Gilliam, Terry JonesStars: Graham Chapman, John Cleese, Eric Idle, Terry Jones, Connie BoothRating: PG

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It sucks that some of the shine has been taken off Holy Grail by its own overwhelming ubiquity. Nowadays, when we hear a "flesh wound," a "ni!" or a "huge tracts of land," our first thoughts are often of having full scenes repeated to us by clueless, obsessive nerds. Or, in my case, of repeating full scenes to people as a clueless, obsessive nerd. But, if you try and distance yourself from the over-saturation factor, and revisit the film after a few years, you'll find new jokes that feel as fresh and hysterical as the ones we all know. Holy Grail is, indeed, the most densely packed comedy in the Python canon. There are so many jokes in this movie, and it's surprising how easily we forget that, considering its reputation. If you're truly and irreversibly burnt out from this movie, watch it again with commentary, and discover the second level of appreciation that comes from the inventiveness with which it was made. It certainly doesn't look like a $400,000 movie, and it's delightful to discover which of the gags (like the coconut halves) were born from a need for low-budget workarounds. The first-time co-direction from onscreen performer Terry Jones (who only sporadically directed after Python broke up) and lone American Terry Gilliam (who prolifically bent Python's cinematic style into his own unique brand of nightmarish fantasy) moves with a surreal efficiency. —Graham Techler

2. Monty Python's Life of BrianYear: 1979Director: Terry JonesStars: Graham Chapman, John Cleese, Terry Gilliam, Eric Idle, Terry Jones, Michael PalinRating: R

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Pretty much made on George Harrison's dime and considered, even if apocryphally, by the legendary comedy troupe to be their best film (probably because it's the closest they've come to a three-act narrative with obvious "thematic concerns"), Life of Brian got banned by a lot of countries at the butt-end of the '70s. As a Christ story, the telling of how squealy mama's boy, Brian (Graham Chapman) mistakenly finds himself as one of many messiah figures rising in Judea under the shadow of Roman occupation (around 33 AD, on a Saturday afternoon-ish), Monty Python's follow-up to Holy Grail may be the most political film of its ilk. As such, the British comedy group stripped all romanticism and nobility from the story's bones, lampooning everything from radical revolutionaries to religious institutions to government bureaucracy while never stooping to pick on the figure of Jesus or his empathetic teachings. Of course, Life of Brian isn't the first film about Jesus (or: Jesus adjacent) to focus on the human side of the so-called savior—Martin Scorsese's take popularly did so less than a decade later—but it feels like the first to leverage human weakness against the absurdity of the Divine's expectations. Steeped in satire fixing on everything from Spartacus to Franco Zeffirelli's Jesus of Nazareth, and buttressed by as many iconic lines as there are crucifixes holding up the film's frames (as Brian's equally squealy mother hollers to the swarming masses, "He's not the messiah. He's a very naughty boy!"), the film explores Jesus's life by obsessing over the context around it. Maybe a "virgin birth" was really just called that to cover up a Roman centurion's sexual crimes. Maybe coincidence (and also class struggle) is reality's only guiding force. Maybe the standard of what makes a miracle should be a little higher. And maybe the one true through line of history is that stupid people will always follow stupid people, whistling on the way to our meaningless, futile deaths. —Dom Sinacola

3. Anchorman: The Legend of Ron BurgundyYear: 2004Director: Adam McKayStars: Will Ferrell, Christina Applegate, Paul Rudd, Steve Carell, David Koechner, Fred WillardRating: PG-13

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Will Ferrell was a movie star before 2004, carrying both Old School and Elf, but he is still inseparable from his role as San Diego newscaster Ron Burgundy, a character so closely tied to our perception of Ferrell as cinematic presence that every subsequent role seems to contain shades of him. Now that McKay has an Oscar under his belt, he's getting more recognition than he did when he was simply the man behind the camera on Ferrell's best movies. Anchorman upped the ante on Zoolander's sheer lunacy, and ended up being a better movie for it, but true to McKay's Chicago improv roots, it is a plane forming itself mid-flight, and Anchorman would be two seconds from falling apart without McKay's steady hand. Ferrell is a certifiable genius in his own right, and is undoubtedly the center of the universe in each of these films, but the world around Ferrell belongs to McKay, and Anchorman announced his arrival as an uncompromising comedy world-builder. —Graham Techler

4. The JerkYear: 1979Director: Carl ReinerStars: Steve Martin, Bernadette Peters, Catlin Adams, Mabel King, Richard Ward, Dick Anthony Williams, Jackie Mason, Bill Macy, M. Emmet WalshRating: R

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From the first couple of lines, co-writer/star Steve Martin and director Carl Reiner establish how much they're willing to sidestep any traditional narrative norm in favor of whatever joke pushes the limits of irreverence and extreme silliness. Here is the pale image of Steve Martin's face, about to invite us into a melodramatic series of flashbacks concerning his character's tragic life, and he begins the story with, "I was born a poor black child." From there, whatever episodic shenanigans that Nevan—Martin's ode to painfully self-unaware idiots everywhere—finds himself in, these plot points are used only as excuses to string together as many dumb jokes as possible. It's hard to call The Jerk a parody, since it's not necessarily lampooning a specific genre or a popular movie (Martin and Reiner left that to Dead Men Don't Wear Plaid and The Man with Two Brains), but its manic addiction to extract as many chuckles out of any random situation, pushing the boundaries of exaggeration and then pushing it some more, places its tone squarely into the Zucker, Abrams, Zucker camp, who were on their way to perfect that approach with Airplane at the time of The Jerk's release. Just look at the scene where Nevan storms out of his house, taking random belongings out of spite. It reaches an extreme point of comedic exaggeration, and then pushes it even further, finding a spot beyond mere parody. —Oktay Ege Kozak

5. The Big LebowskiYear: 1998Director: Joel CoenStars: Jeff Bridges, John Goodman, Julianne Moore, Steve Buscemi, David Huddleston, John Turturro, Philip Seymour HoffmanRating: R

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Jeff "The Dude" Lebowski has plenty of time on his hands—enough to while away the days chasing down a stolen rug, at least—but he can hardly get himself dressed in the morning, chugs White Russians like it's his job (incidentally, he doesn't have a real one) and hangs around with a bunch of emotionally unstable bowling enthusiasts. Any mission you set him off on seems bound to fail. And yet that's the great joy, and the great triumph, of the Coen Brothers' _The Big Lebowski_ and its consummate slacker-hero. The Dude is a knight in rumpled PJ pants, a bathrobe his chainmail, a Ford Torino his white horse. Strikes and gutters, ups and downs, he takes life in ambling, unshaven stride—and more than dashing good looks and unparalleled strengths, isn't that something we should all aspire to? —Josh Jackson

6. Fast Times at Ridgemont HighYear: 1982Director: Amy HeckerlingStars: Jennifer Jason Leigh, Sean Penn, Judge Reinhold, Robert Romanus, Brian Backer, Phoebe Cates, Ray Walston, Vincent Schiavelli, Forest WhitakerRating: R

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When people think of Fast Times they think of Sean Penn's canonical California surfer, or the Phoebe Cates nude scene that seemed to be referenced on every single episode of VH1's I Love the '80s. People rarely want to talk about the heart of the movie, though: Jennifer Jason Leigh's turn as Stacy Hamilton, a high school freshman desperate to grow up. That's because Stacy's story is painful, albeit truthful; she loses her virginity to a guy 10 years older than her who almost immediately cuts off contact, and then gets pregnant by a classmate who abandons her the day of her abortion. Amy Heckerling presents this all with a blunt matter-of-factness, with none of the prurience or afterschool special sermonizing that would be found in a movie made by lesser directors (or a male one). Fast Times gets heavy, and Stacy's scenes can be hard to watch, but it's that element of realism that elevates it above a typical high school sex comedy. —Garrett Martin

7. The Mitchells vs. The Machines

Year: 2021Director: Mike RiandaStars: Danny McBride, Abbi Jacobson, Maya Rudolph, Mike Rianda, Eric Andre, Olivia Colman, Fred Armisen, Beck BennettRating: PG

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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

8. Glass Onion: A Knives Out MysteryYear: 2022Director: Rian JohnsonStars: Daniel Craig, Janelle Monae, Ed Norton, Kate Hudson, Kathryn Hahn, Dave Bautista, Leslie Odom Jr., Jessica Henwick, Madelyn ClineRating: PG-13

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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

9. This Is the EndYear: 2013Directors: Evan Goldberg, Seth RogenStars: James Franco, Jonah Hill, Seth Rogen, Jay Baruchel, Danny McBride, Michael Cera, Emma Watson, Paul Rudd, Jason Segel, Rihanna, Martin StarrRating: R

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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

10. Hunt for the WilderpeopleYear: 2016Director: Taika WaititiStars: Sam Neill, Julian Dennison, Rima Te Wiata, Rachel House, Oscar Kightley, Tioreore Ngatai-Melbourne, Rhys DarbyRating: NR

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Bella's (Rima Te Wiata) first encounter with Ricky (Julian Dennison), the new foster child she's agreed to take on, doesn't inspire confidence, especially with her clumsy jokes at the expense of his weight. In turn, with child-services representative Paula (Rachel House) painting Ricky as an unruly wild child, one dreads the prospect of seeing the kid walk all over this possibly in-over-her-head mother. But Bella wears him down with kindness. And Ricky ends up less of a tough cookie than he—with his fondness for gangsta rap and all that implies—initially tried to project. An adaptation of Barry Crump's novel Wild Pork and Watercress, Taika Waititi's Hunt for the Wilderpeople thrives on upending preconceived notions. The director shows sympathy for Ricky's innocence, which is reflected in the film's grand-adventure style. Cinematographer Lachlan Milne's sweeping, colorful panoramas and a chapter-based narrative structure gives Hunt for the Wilderpeople the feel of a storybook fable, but thanks to the warm-hearted dynamic between Ricky and Hec (Sam Neill), even the film's most whimsical moments carry a sense of real underlying pain: Both of these characters are outsiders ultimately looking for a home to call their own. —Kenji Fujishima

11. Bad TripYear: 2021Director: Kitao SakuraiStars: Eric Andre, Tiffany Haddish, Lil Rel Howery, Michaela ConlinRating: R

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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.

12. Dolemite Is My NameYear: 2019Director: Craig BrewerStars: 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 SnipesRating: R

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"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

13. MindhornYear: 2016Director: Sean FoleyStars: Julian Barratt, Essie Davis, Richard McCabe, Alex Wyndham, Steve CooganRating: NR

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Julian Barratt gives a charismatic lead performance, using those chiseled cheekbones and glorious mustache in concert with uncommonly sad eyes to make his washed-up actor Richard Thorncroft both recognizable and worthy of empathy, despite his arrogance and stupidity. The rest of the cast is also strong, though largely overshadowed by Barratt's magnetism. If Steve Coogan, who also produced, wants to continue spending large chunks of his time in very small, brutally funny roles in comedy movies (see: The Other Guys, In the Loop, and technically Hot Fuzz), that's fine by me. Kenneth Branagh, shockingly, cameos as himself in one early scene where he auditions Richard for a Hamlet adaption—it's nice to see he has a sense of humor about still being the go-to Shakespeare guy. It's clear, in any case, that Mindhorn is a labor of love for the cast and crew.—Deborah Krieger

14. The Nice GuysYear: 2016Director: Shane BlackStars: Russell Crowe, Ryan Gosling, Angourie Rice, Margaret Qualley, Keith DavidRating: R

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Good performances can polish average movies with just enough elbow grease they end up looking like gems. Think Jennifer Lawrence in Silver Linings Playbook, or Alan Rickman in Robin Hood: Prince of Thieves. Every advance that Shane Black's The Nice Guys takes toward quality is made on the strengths of Russell Crowe and Ryan Gosling. Black is as quick with action scenes as with punchlines. The Nice Guys is funny. It's exciting. If you find yourself growing tired of wordplay, Black will turn things around and slide in some Three Stooges slapstick. If you get tired of that, he'll set off a gun or throw a few punches, though it is impossible to imagine anybody finding the clownish sight of Gosling tumbling off of balconies or crashing through plate glass tiresome. Gosling and Crowe are a great pair, so great that their team-up should justify funding for a buddy picture series where Holland and Jackson undertake jobs that spiral out of hand and above their pay grades. Crowe plays it straight and grumpy, and you half expect him to declare that he's too old for this shit at any given moment. Gosling, on the other hand, shapes Holland through boozy tomfoolery and pratfalls. They're a standout odd couple, but Black's films are defined by great odd couples as much as they are by great scripting. In The Nice Guys, he leaves it up to Gosling and Crowe to use the former to fill in the gaps left behind by the lack of the latter.—Andy Crump

15. The Addams Family

Year: 1991Directors: Barry SonnenfeldStars: Anjelica Huston, Raul Julia, Christopher Lloyd, Dan Hedaya, Christina Ricci, Carel StruyckenRating: PG-13

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The Addams Family was a notoriously troubled production, riddled with rewrites and delays, to the point that Orion Pictures ultimately sold off the mostly completed film to Paramount, wary of its growing budget. What they let go of went on to become one of the best and highest-grossing comedies of the early '90s, reinvigorating the original 1960s TV series (based on the comics of Charles Addams) into a macabre but high-energy touchstone of the era. The film benefits immensely from casting that is impeccable on every level–Raul Julia is a veritable dynamo, infusing Gomez with a physicality that no other performer has been able to match, while Anjelica Huston is pale, radiant and otherworldly as wife Morticia. Christopher Lloyd keeps step every bit of the way as Fester, and Christina Ricci and Jimmy Workman steal every other scene as the dynamic duo of Wednesday and Pugsley, inspiring decades of sibling Halloween costumes to come. Every principal performer is synonymous with the role they embody here, and director Barry Sonnenfeld turns that ensemble loose in a decrepit old mansion that nonetheless brims with both danger and the love of a tight-knit family unit. Filled from top to bottom with non-stop, deadpan one-liners from the likes of Huston and Julia, it's an endlessly quotable, comforting comedy that is just far enough removed from reality or its time period that it never seems to age a day.–Jim Vorel

16. 13 Going on 30Year: 2004Director: Gary WinickStars: Jennifer Garner, Mark Ruffalo, Judy Greer, Andy Serkis, Kathy BakerRating: PG-13

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What could've been easily dismissed as a shameless Big ripoff might be even better than that Tom Hanks classic. Jennifer Garner is at her most charming as a 13-year-old in a grown-up's body, and perennially underrated Judy Greer shines in her finest film role as Garner's best frenemy. The sweetly nostalgic script might deserve the most credit, though–a movie like this could have been ruined by lethal levels of cheese, but 13 Going on 30 has the exact right amount of crowd-pleasing schmaltz.—Allyn Moore

17. Scott Pilgrim vs. The WorldYear: 2010Director: Edgar WrightStars: Michael Cera, Mary Elizabeth Winstead, Brie Larson, Chris Evans, Alison Pill, Aubrey Plaza, Jason Schwartzman, Kieran CulkinRating: PG-13

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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

18. The LovebirdsYear: 2020Director: Michael ShowalterStars: Issa Rae, Kumail Nanjiani, Paul Sparks, Anna Camp, Kyle BornheimerRating: R

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Michael Showalter updates the After Hours template with this fun romp, in which a modern, mundane couple who just broke up gets entangled in unexpected crime and danger. Rae and Nanjiani are a great comic duo who nail the mix of pettiness, tenderness and lived-in comfort of a couple who have already been going through the motions longer than it took to establish them; their blithe bickering and chatter, insistent whether they're infiltrating a secret society orgy or about to be tortured, is consistently funny without feeling too quippy or sitcom-ish. There are a lot of movies like this—Date Night, Game Night, probably others that have the word "night" in the title—but The Lovebirds might be the sharpest one since Scorsese sent Griffin Dunne panicking through mid '80s Manhattan.—Garrett Martin

19. Forgetting Sarah MarshallYear: 2008Director: Nicholas StollerStars: Jason Segel, Kristen Bell, Mila Kunis, Bill Hader, Jack McBrayer, Paul Rudd, Jonah HillRating: R

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Following one of the standard romantic comedy tropes, a man (in this case played by Jason Segel) is tempted to chase the wrong girl (Kristen Bell), ignoring the soulmate (Mila Kunis) right in front him. But while we'd seen the set-up before, we'd seen nothing like Segal's character Peter getting dumped while naked, Russell Brand as the lead singer for Infant Sorrow or Peter's A Taste For Love Dracula-themed puppet-comedy-rock-opera. Everyone you'd expect (Jonah Hill, Paul Rudd, Kristen Wiig, Bill Hader) co-stars.—Josh Jackson

20. Always Be My MaybeYear: 2019Director: Nahnatchka KhanStars: Ali Wong, Randall Park, Keanu Reeves, Michelle Buteau, Vivian Bang, Karan SoniRating: PG-13

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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

21. Between Two Ferns: The MovieYear: 2019Director: Scott AukermanStars: Zach Galifianakis, Lauren Lapkus, Ryan Gaul, Matthew McConaugheyRating: NR

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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

22. The Incredible Jessica JamesYear: 2017Director: Jim StrouseStars: Jessica Williams, LaKeith Stanfield, Noël Wells, Taliyah WhitakerRating: NR

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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

23. To All the Boys I've Loved BeforeYear: 2018Director: Susan JohnsonStars: Lana Condor, Noah Centineo, Janel ParrishRating: NR

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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

24. The House BunnyYear: 2008Director: Fred WolfStars: Ana Faris, Colin Hanks, Emma Stone, Kat Dennings, Christopher McDonald, Beverly D'AngeloRating: PG-13

When it was released in 2008, The House Bunny was basically marketed as a slightly racier Legally Blonde, starring Anna Faris instead of Reese Witherspoon. The comparison makes sense, considering the screenplay was penned by the writing duo behind Legally Blonde: Karen McCullah and Kirsten Smith, whose other credits include 10 Things I Hate About You, Ella Enchanted, and She's the Man. If you're a millennial woman, your pop culture world has undoubtedly been shaped by these two. In The House Bunny, Faris' credulous hero Shelley Darlingson is a delight as she tries to help the misfits in Zeta Alpha Zeta house. Faris has great chemistry with Emma Stone's nerdy Natalie Sandler (presumably a nod to producer Adam Sandler) and she even manages to sell a romance with Colin Hanks. The movie isn't perfect, but The House Bunny was a box office triumph, grossing over $70 million worldwide. This moment in the late '00s felt like the tipping point where Faris could be a big draw as a comedy lead, and certainly a launch pad for Stone's burgeoning talent.—Clare Martin

25. Role ModelsYear: 2008Director: David WainStars: Paul Rudd, Sean William Scott, Christopher Mintz, Bobb'e J. Thompson, Jane Lynch, Elizabeth BanksRating: R

Watch on Netflix

Even though it's rated R, Role Models could easily be mistaken as a Judd Apatow-produced attempt at a family film. Much of what makes this feel like an Apatow film is how reliable the plot is. The end is no surprise to anyone who's watched even a dozen Hollywood films, but what's important is the journey. David Wain (Wet Hot American Summer) allows the characters to meander to their destined plot points for as long as the jokes will take them–which can be quite a while in some cases. But since the overall story isn't in question, this time spent elsewhere doesn't detract; it instead deepens the characters. The jokes aren't revolutionary either, but they are spot on. Role Models is not experimental like some of Wain's other comedy projects (Stella, The State). What it is, though, is well acted, well written and extremely polished. Most important of all, it's really funny. Apatow should be flattered by the comparison..–Sean Gandert

26. Little EvilYear: 2017Director: Eli CraigStars: Adam Scott, Evangeline Lilly, Bridget Everett, Clancy Brown, Sally Field, Owen AtlasRating: NR

Watch on Netflix

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

27. MascotsYear: 2016Director: Christopher GuestStars: Jane Lynch, Parker Posey, Fred Willard, Christopher Guest, Ed Begley Jr., Jennifer Coolidge, Harry Shearer, Zach WoodsRating: NR

Watch on Netflix

"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

28. Wine CountryYear: 2019Director: Amy PoehlerStars: Rachel Dratch, Ana Gasteyer, Amy Poehler, Maya Rudolph, Paula Pell, Emily Spivey, Tina Fey, Jason Schwartzman, Cherry JonesRating: R

Watch on Netflix

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

29. Eurovision Song Contest: The Story of Fire SagaYear: 2020Director: David DobkinsStars: Will Ferrell, Rachel McAdams, Dan Stevens, Pierce BrosnanRating: PG-13

Watch on Netflix

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

30. Vampires vs. The BronxYear: 2020Director: Osmany RodriguezStars: Jaden Michael, Gregory Diaz IV, Sarah Gadon, Shea Whigham, Method Man, Chris ReddRating: PG-13

Watch on Netflix

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

31. Baby MamaYear: 2008Director: Michael McCullersStars: Tina Fey, Amy Poehler, Greg Kinnear, Dax Shepard, Sigourney WeaverRating: PG-13

Watch on Netflix

Baby Mama is not great. If you can get past the disappointment felt in the wake of high expectations for Tina Fey and Amy Poehler's first big screen team-up, though, you'll find a piece of Hollywood product that's just charming enough to be worth your time. Fey and Poehler help elevate hit and miss material, and Steve Martin revives some of his early career absurdity in a great supporting role. It's still not what we were hoping it would be back in 2008, but it's far from a disaster.–Garrett Martin

Pete Davidson Announces New Netflix Comedy Special Turbo Fonzarelli

The post Pete Davidson Announces New Netflix Comedy Special Turbo Fonzarelli appeared first on Consequence.

Pete Davidson has announced his second Netflix comedy special, Turbo Fonzarelli.

Pete Davidson: Turbo Fonzarelli will premiere on the streamer January 9th, 2024. Directed by the comedian's returning collaborator Jason Orley, the hour-long standup special will see him reflect "on what it means to grow up and turn 30" as well as "discussing love, life, and living in the woods."

In October, Davidson returned to Saturday Night Live as a host, during which he spoofed the Barbie tune "I'm Just Ken" as a very candid confessional called "I'm Just Pete." If that's any indication, we're guessing anything goes for Turbo Fonzarelli.

Turbo Fonzarelli will mark Davidson's second standup special for Netflix, with his first, Alive from New York, debuting in early 2020. Since then, he also starred in the semi-autobiographical Peacock series Bupkis.

Pete Davidson Announces New Netflix Comedy Special Turbo FonzarelliAbby Jones

Lisa Kudrow Joins Netflix's Dark Comedy No Good Deed

Emmy-winning actress Lisa Kudrow joins the Netflix dark comedy No Good Deed in the latest casting announcement for the upcoming eight-episode series from Dead to Me creator Liz Feldman.

No Good Deed is about three very different families that are contending to buy the same 1920s Spanish-style villa. They think it will solve all their problems. But the sellers discover that "sometimes the home of your dreams can be a total nightmare."

Kudrow's character, Lydia Morgan, is described as a "highly-talented (and highly-strung) former concert pianist." She's a devoted wife to Paul (Ray Romano) and a loving-though-flawed mother to their two children. Lydia's not fond of the idea of selling their Los Feliz home, distraught at having to leave a place that's filled with happy memories and dark secrets.

Romano's casting, which was previously announced, will see him play Paul as "constantly stressed and flat broke," per an official description. A contractor who is desperate to retire and pay off his debts, Paul would also like to escape Los Angeles. He thinks selling his beautiful home is the solution for him and his wife Lydia, but past mistakes continue to haunt him.

Kudrow is best known for playing Phoebe Buffay on Friends in addition to her lead role of Valerie Cherish on HBO's The Comeback. For her performance on Friends, in 1998, she won an Emmy. She's also a frequent nominee. On the big screen, Kudrow has starred in Romy and Michele's High School Reunion. She's also appeared in comedies like Easy A, Booksmart, and Neighbors.

Feldman is the showrunner and executive producer alongside Will Ferrell and Jessica Elbaum for Gloria Sanchez Productions, as are Christie Smith and Silver Tree. Tree will also direct episodes of the show, including the pilot. Casting credits go to Sherry Thomas and Russell Scott.

The post Lisa Kudrow Joins Netflix's Dark Comedy No Good Deed appeared first on ComingSoon.Net - Movie Trailers, TV & Streaming News, and More.

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