The Funniest American Comedies

What makes a comedy worth watching? Maybe the script, maybe the dialogues, maybe the actors who have perfect comic timing. Some comedy films that were unsuccessful upon their theatrical release have matured over time in ways their creators never imagined, to become gods. classic movies of all time.

🎬 Stars and Stripes Laughter: The New American Comedy

Forget the pie-in-the-face gags and the purely slapstick comedy of the early 2000s. The new American comedy is experiencing an auteur renaissance: it has become smarter, more cynical, and often capable of blending laughter with deep social satire. From Alexander Payne’s existential road movies to fierce satires on show business like American Fiction, this section collects recent works demonstrating that the United States can still laugh at itself, but with a new and biting awareness.

Anora (2024)

Anora is a young sex worker from Brooklyn who believes she has found a modern fairy tale when she impulsively marries the son of a Russian oligarch. But when the news reaches Russia, the fairy tale turns into a frantic and chaotic farce: the boy’s parents send their henchmen to New York to annul the marriage. Winner of the Palme d’Or at Cannes, Sean Baker’s film is a high-energy modern “screwball comedy.” It is a reinterpretation of Pretty Woman without the glossy Hollywood filter, where humor stems from chaos, language barriers, and the desperate vitality of the characters. Funny, foul-mouthed, and ultimately touching, it is the new jewel of American independent cinema.

Hit Man (2024)

Gary Johnson (Glen Powell) is a mild-mannered and somewhat boring philosophy professor who works part-time for the police as a fake hitman. His talent for disguise and adapting his personality to the “clients'” desires makes him unbeatable. Things get complicated when he falls in love with a woman who wants to hire him to kill her abusive husband. Directed by master Richard Linklater (Boyhood, Dazed and Confused), Hit Man is a philosophical, sexy, and brilliant comedy. It plays intelligently with the concept of identity: are we who we pretend to be? It is a film that flows lightly but leaves a mark, mixing the noir genre with classic romantic comedy, supported by explosive chemistry between the leads.

The Holdovers (2023)

New England, 1970. Paul Hunham (Paul Giamatti) is a rigid, pompous, and universally hated ancient history teacher. During Christmas break, he is forced to stay on campus to supervise a group of students with nowhere to go. He ends up forging an unlikely bond with Angus, a bright but troubled student, and the school’s head cook, who has just lost a son in Vietnam. Alexander Payne returns with a bittersweet comedy that feels like a lost classic from the 70s. There are no raucous gags, but a warm, cynical, and deeply human humor. It is a film about shared loneliness and the families we choose, written with rare grace. Giamatti delivers one of the finest comedic (and dramatic) performances of his career.

American Fiction (2023)

Thelonious “Monk” Ellison is a frustrated African American writer: his intellectual books don’t sell, while white audiences crave stories full of stereotypes about “black ghettos.” As a joke and out of anger, he writes a novel full of offensive and violent clichés under a pseudonym. To his horror, the book becomes an immediate bestseller acclaimed by literary critics. Awarded the Oscar for Best Adapted Screenplay, it is a biting and intelligent satire on cultural hypocrisy and the art market. The film laughs at how “white” media consumes black trauma as entertainment, but also manages to be a touching family comedy. Jeffrey Wright is masterful at keeping a straight face while the world around him goes mad.

Dream Scenario (2023)

Paul Matthews (Nicolas Cage) is an anonymous university professor who, suddenly and without reason, begins appearing in the dreams of millions of strangers worldwide. He becomes a viral celebrity, loved by all. But when his dream appearances turn from harmless to violent nightmares, fame turns to infamy, and Paul becomes the most hated man on the planet. Produced by A24, it is a “cringe comedy” that slides into surreal horror. It is a brilliant and ruthless metaphor for cancel culture and the fickleness of fame in the social media age. Nicolas Cage is perfect in the role of a mediocre man swept away by events bigger than himself, offering moments of clumsy and desperate physical comedy that make you laugh and cringe at the same time.

2 Below 0

Now Available

Comedy, by Tim Cash, United States, 2019.
Rusty is a poet who sold everything he owned in his town, bought a trailer, and moved to the middle of a desolate, snowy wasteland in a small American provincial village. In reality, he is going through a deep internal crisis and refuses to accept that Alice has left his life, keeping her close to him in the form of a female mannequin. Rusty meets three women who always hang out at the entrance of the only store in the area: Babs, Fran, and Ruth-Ann. Rusty awakens their desires and ambitions; one of the women is an aspiring writer and believes that the writer can help her publish her first novel. But it seems that the man has a girlfriend, and the three women decide to investigate as the temperature drops to '2 below zero'.

A humorous comedy set in the midst of the snow, with vibrant colors that constantly punctuate the white landscape. Tim Cash comically and grotesquely tells a story in which, hidden deep within, the drama of the protagonist Rusty's abandonment by his girlfriend Alice unfolds. This storytelling style was already appreciated in another of his films, "The Astronot," where the ending suddenly transformed a comedy into a tragedy. Rich in surreal moments and slow-motion scenes, this film bubbles with rock vitality and a direction that maximizes all available elements. Special applause goes to actor and composer Pennan Brae, who is perfect and empathetic in the role of Rusty.

LANGUAGE: English
SUBTITLES: Spanish, French, German, Portuguese

WATCH NOW

🎬 Beyond Hollywood: Other Shades of Comedy

American comedy is a vast universe, but laughter knows no bounds. If you loved these titles, here are other paths to explore the funny side of cinema, from romantic love to the darkest and most politically incorrect humor.

Romantic Comedy Movies

When laughter meets heartbeat. From classics like When Harry Met Sally to modern love stories, discover the films that will make you fall in love while smiling, blending feelings with unforgettable gags.

👉 GO TO THE LIST: Romantic Comedy Movies

Black Comedy

If you prefer incorrect, cynical, and grotesque humor, where tragedies and taboos are laughed at. A perfect selection for those not afraid to joke about death and social conventions, in pure Coen or Tarantino style.

👉 GO TO THE LIST: Black Comedy

Teen Movies

High school, parties, first loves, and youthful disasters. The “Teen Movie” is a pillar of American comedy. Discover the cult classics that narrated the most difficult, embarrassing, and funny age of life.

👉 GO TO THE LIST: Teen Movies

Action Comedy Movies

Pure adrenaline and lightning-fast jokes. For those who want to laugh but don’t want to give up explosions, chases, and fistfights, in a perfect mix of genres.

👉 GO TO THE LIST: Action Comedy Movies

Indie Comedy

Far from pre-packaged blockbusters, independent cinema offers the most original, strange, and authentic comedies. Discover the hidden gems in our catalog that challenge Hollywood rules.

👉 BROWSE THE CATALOG: Stream Indie Comedies

🎬 The Roots of Laughter: Timeless Classics

Before streaming and viral comedies, Hollywood taught the world how to laugh. This section is a journey through time across the golden decades of American comedy: from the rapid-fire dialogue of 1930s screwball comedy to the brilliant cynicism of Billy Wilder, up to the chaotic anarchy of the 80s and the sentimental revolution of the 90s. Here you will find the films that wrote the rules of the genre, turning laughter into a refined and immortal art.

Safety Last! (1923)

Silent film comedian Harold Lloyd plays a cute character, a boy next door, and ends up in hair-raising danger. In his best-known film, his strategy of convincing an athletic colleague to climb the facade of a chain as a publicity stunt backfires him, so Harold personally takes care of the dangerous climb. Meet annoying pigeons and an awkward dial in a stunning and beautifully constructed set, the perspective of which produces dizzying chills. 

The Gold Rush (1925)

The Little Tramp of Charlie Chaplin finds himself embarking on the Alaskan gold rush in this famous film, whose surreal innovation, like seeing him eat his boots for hunger, has made cinema history. The romantic parts and his falling in love with a showgirl also continue to work well, showcasing the elegance of this Chaplin film. A fantastic film, to be seen especially in the first silent version.

A Bucket of Blood

Now Available

Comedy, Crime, by Roger Corman, United States, 1959.
Produced on a budget of $ 50,000, it was shot in five days by low-budget B movie king Roger Corman. One night, after hearing the words of Maxwell H. Brock, a poet who performs at The Yellow Door cafe, the obtuse waiter Walter Paisley returns home to try to create a sculpture of the face of the hostess Carla, but accidentally kills the cat. Instead of giving the animal a proper burial, Walter covers the cat with clay, leaving the knife stuck inside. The next morning Walter shows the cat to Carla and her boss Leonard. Carla is enthusiastic about the work and convinces Leonard to exhibit it in his bar. Walter receives praise from Will and the other beatniks in the cafe.

Food for thought
Art kills and hands real life over to immortality. What are the characters of a film, a painting or a sculpture if not non-human crystallizations, theorems and representations of people we have seen, heard, dreamed, met in real life?

LANGUAGE: English
SUBTITLES: Spanish, French, German, Portuguese

WATCH NOW

The General (1926)

Seen today, the quite natural response to the Civil War artwork of Buster Keaton isn’t much to laugh about but rather arouses pure and jaw-dropping awe. In a world far from health and safety, there is a man who risks his life and even an arm or a leg to deliver many of the most amazing gags ever performed: dodge cannonballs and shoot a scene where he crashes an entire locomotive. life size from a bridge. It’s fun too, of course: the birth of the chase film, the model for so many subsequent films.

Sons of the Desert (1933)

Eccentric boy-man Stan Laurel and cop Oliver Hardy do the screen’s most adored double comedy act and it is thought that these are their best 68 minutes. The two run away from their wives and everything goes terribly wrong triggering a whole series of exquisitely timed gags as the unfortunate two end up hiding in their attic. Short, delicious and edgy.

Duck Soup (1933)

What to say when a film is approaching its early century but still feels as relevant and subversive as it was when it was released? Perfect film by the Marx brothers, Duck Soup takes them out of their New York music hall environment, into a kind of mini memory of immigrants infiltrated by twisted Central Europe and fairy tales, where the battle is brewing between the happy people of Freedonia and the cryptofascists of nearby Sylvania. With a much lighter touch than Chaplin’s Great Dictator, the film teases not just fascism, but patriotism and politics as a whole – this is a sharp and profound satire in every scene.

A Night at the Opera (1935)

The Marx Brothers at their anarchist heyday, a dissection of brats, jazz-aged, high society pranks who contained their gags most unforgettable comedians. The story, in which Groucho must help a struggling opera company, stages puns, cheats and tongue twisters. Chico makes Italian-style jokes, while Harpo’s energetic slapstick feats constantly amaze. 

Chasing Butterflies

Now Available

Comedy, romantic, by Rod Bingaman, United States, 2009.
Nina runs away from home hours before her wedding. In order not to postpone her mother's wedding ceremony, she pretends to be Nina and marries her boyfriend. Soon after they begin their search to find Nina and bring her back: Nina's husband is convinced that she no longer loves him. A fifteen-year-old nerdy boy meets Nina on the street and tries to impress her with his father's Corvette that he sneaked away without having her driver's license. Meanwhile, a rebellious young woman and her boyfriend who has escaped from prison meet the boy and steal his Corvette, sowing panic with a series of thefts as they head to Canada, in search of a better life and money to make their living. love dream. Meanwhile, Nina meets on a bus a man on the run from a failed marriage: a famous local radio broadcaster who has been abandoned by his wife. But the bus will be the target of a robbery by the engaged couple "Natural Born Killers".

Chasing the Butterflies is an action-packed romantic comedy populated by characters destined to cross paths. Love gives them energy or scares them, everyone is on the run in search of a better life or because they don't know how to deal with responsibilities. Everyone refuses to be imprisoned in social conventions even when they themselves have sought them, even when the social convention is that of a marriage to a man you still love. An on the road littered with grotesque situations and hilarious dialogues, often in American slang, made independently, with a very interesting cast.

LANGUAGE: English
SUBTITLES: Spanish, French, German, Portuguese

WATCH NOW

Way Out West (1936)

Frontier Tale of Laurel and Hardy is the film that reaches their absolute best. Having contrived to deliver a house deed to a bar owner, their efforts to make amends involve a flying donkey, an ill-fated piano, and lots of laughter. All this plus numerous absolutely fascinating old-fashioned music tracks (“Trail of the Lonesome Pine“) and Ollie’s unique gag using his thumb as a lighter. Masterpiece.

The Great Dictator (1940)

Charlie Chaplin’s brave 1940 film sees him parody Adolf Hitler as the fictional despot Adenoid Hynckel. The famous scene where she dances with a huge globe is a terrific gag about the ostentation of megalomania, although there is also a murderous instinct in Hynkel’s behavior, and the prescient “prison camp” speech. Overall, it’s more of a power movie than a simple comedy, considering the subplot with Chaplin playing a tenacious barber isn’t funny at all.

His Girl Friday (1940)

Where would comedy be without His Girl Friday? The double-edged cynicism of Ben Hecht and Charles MacArthur’s Broadway play The Front Page couldn’t be more modern. Director Howard Hawks had the passionate insight to transform the male character Hildy into an ardent woman played by Rosalind Russell, setting off one of the most incendiary, yet affectionate, sex warfare battles in film history.

Sullivan’s Travels (1941)

Sullivan’s Travels is perhaps best known today as the film that inspired the Coen brothers from Brother, Where Art Thou ?, however this American comedy d ‘essai on the meaning of life deserves much more. At the same time witty, crazy, intelligent and unscrupulous, she was directed by director Preston Sturges at the absolute pinnacle of his talent, He is a Hollywood film , but also an edgy and political analysis of why comedy matters. A brilliant work, as simple as it is direct. 

Festival in Cannes

Now Available

Sentimental comedy, by Henry Jaglom, United States, 2001.
Cannes, 1999. Alice, an actress, wants to direct an independent film, and is looking for financiers. She meets Kaz, a talkative businessman, who promises her $ 3 million if she uses Millie, a French star who has passed her youth and no longer finds interesting roles. Alice tells the story of the film to Millie and the actress falls in love with the project. But Rick, a prominent producer working for a large Hollywood studio, needs Millie for a small part in a film due to shoot in the fall, or else he'll lose her star, Tom Hanks. Is Kaz a real producer or is he a charlatan? Rick is actually not as rich as he used to be and he absolutely has to convince Alice to give up Millie in order to close the big project deal with Tom Hanks. Millie is undecided about what to choose: an indie film she loves but with no big money or a small part in the Hollywood movie that pays very well? Meanwhile, a young actress named Blue becomes the star of the festival and Kaz discovers a new love. The wheel of life, and of show business, turns, between feelings, existential budgets and film business. A film shot with great stylistic freedom, like a documentary, during the 1999 edition of the festival, which focuses on the performances of the actors with a spontaneous and fluid improvisation method, inspired by Cassavetes' cinema. A light and moving sentimental comedy, where the conflicts and frailties of the stars of the show business gradually emerge, bringing the important themes of life to the surface.

Food for thought
Working as a cog in a system or for your own vision? Dependence or independence? Both are not completely real: the reality that happens everywhere, in any industry, in any natural event, is interdependence. We are all absolutely interdependent, not only between men, not only between nations, but between trees and humans, between animals and trees, between birds and sun, between moon and oceans, everything is intertwined with everything else. The humanity of the past did not understand this fundamental law, and it created big problems.

LANGUAGE: English
SUBTITLES: Spanish, French, German, Portuguese

WATCH NOW

Heaven Can Wait (1943)

A satirical portrait of a womanizer ruining the excellent romance ahead of him, this Technicolor delight of the fabulous Ernst Lubitsch includes the most elegant view of hell: all the marble columns and even the polished floors, overseen by Laird Cregar’s affable Satan, who decides whether Don Ameche should go ‘below’ or ‘above. An ironic reflection on male weakness.

Some Like It Hot (1959)

Jack Lemmon and Tony Curtis are famous as Jerry and Joe, two artists who are forced to take off from Chicago after having experienced the 1929 Valentine’s Day Massacre and camouflage themselves as female members of a band that takes a trip to Florida. Joe succumbs to the band’s seductive lead singer Sugar (Marilyn Monroe), while Jerry must avoid the lusty attentions of a rich old man. Billy Wilder delivers a calm and lively farce, loaded with tricks and disguise.

The Pink Panther (1963)

The first in a collection of 5 films about the clumsy cheating of pseudo-French detective by Peter Sellers, Chief Inspector Clouseau, The Pink Panther is also one of the most measured, refined and languid of the series. While very entertaining, Sellers’ character only came to prominence from the second film, A Shot in the Dark, onwards.

Bedazzled (1967)

The remake with Brendan Fraser and Liz Hurley was disappointing. The initial Bedazzled is a classic piece of the cinematic comedy and also Dud’s best big screen movie. Dudley Moore is a sad cook who goes in search of a waitress (Eleanor Bron), while Peter Cook plays the devil. What follows is a Faustian collection of gags – some funny, some flamboyant, some a little aged – that offer plenty of opportunities for the duo’s distinctive interpretations.

Hollywood Dreams

Now Available

Comedy, drama, by Henry Jaglom, United States, 2007.
Aspiring actress Margie Chizek seeks stardom in Hollywood. She is rejected by the cinema scene, falls in love, discovers the deceptions behind the world of film advertising and understands her identity better than her. Saved from ruin by a kind producer, Margie manages to enter the world of the rich in Hollywood and falls in love with a young actor, who is building her career by pretending to be gay. The couple will face show business and sexual identity manipulation. Hollywood Dreams engages the audience thanks to the extraordinary performance of Tanna Frederick and her character as a tormented and emotionally unstable actress, a surprising and moving performance. The character of a fragile woman, a prisoner of false myths, at times repellent and bizarre. In the hands of the nonconformist independent director Henry Jaglom the charm of the false illusions of success is told in an exemplary and irresistible way.

The history of cinema is full of films about people making films, which can be interpreted as a universal story: everyone strives for success, recognition and fame in a competitive field. Henry Jaglom's Hollywood Dreams is a subversive film, a satire of an industry based on deception. Inspired by the productive freedom and improvisation of the actors of John Cassavetes' independent cinema, more rigorous and exciting than Henry Jaglom's other films, Hollywood Dreams focuses on a smiling actress who suddenly becomes famous. The director, in his fifteenth film, becomes more melancholy, and takes a journey between cinematic memories and gender identity confusion. The style is always the realistic one, almost a documentary, of other Jaglom films. One of the best known American independent directors in a nostalgic mood, reflecting on the negative aspects of fame and success.

LANGUAGE: English
SUBTITLES: Spanish, French, German, Portuguese

WATCH NOW

The Odd Couple (1968)

The unabashedly unrepentant Oscar, portrayed with remarkable flair by Walter Matthau, and the meticulously neurotic, cleaning-obsessed Felix, brought to life by the talented Jack Lemmon, are two long-time friends. Their separate but parallel marital troubles compel them to inhabit a shared apartment in the vibrant heart of Manhattan. This adaptation brings to the stage Neil Simon’s celebrated Broadway masterpiece, allowing the audience to immerse in its theatrical depth. The production’s intimate setting enables the actors to explore and play with the vast divergence in their characters’ temperaments, giving rise to a humorous yet profound love-hate dynamic fueled by their enduring friendship. The comedic essence of the play stems from its relatability: nearly everyone can pinpoint someone in their life who embodies the carefree demeanor of an Oscar as well as the finicky meticulousness of a Felix. The humor resonates because it is rooted in authentic, everyday experiences, making the portrayal both endearing and irresistibly amusing.

Take the Money and Run (1969)

When attempting to commit a heist on a financial establishment, it can be advantageous to persuade the bank itself to partake in theft. “Take the Money and Run,” directed by Woody Allen, presents itself as an audacious, occasionally dazzling, and frequently indulgent cinematic work brimming with visual humor. Although it does not possess the emotional depth that characterizes Allen’s films from his later career, it stands as a remarkable introduction to the world of twentieth-century comedy cinema, showcasing the promise and talent of an emerging comedic actor and director. Through clever and inventive visual gimmicks, Allen crafts a film that entertains with its wit and humor, setting the stage for his future works that would captivate audiences with their sardonic and astute explorations of human nature. Despite any perceived deficiencies in emotional insight relative to his subsequent films, this debut remains a notable and significant entry in the annals of comedic filmmaking.

Bananas (1971)

“Bananas” is a 1971 film written, directed, and starring Woody Allen. It is a satirical comedy that follows the adventures of an insecure man named Fielding Mellish, played by Allen, who joins a revolution in a small, fictional Latin American republic. The film is known for its eccentric humor, unexpected twists, and surreal comic style, characteristic of Allen’s filmography.

The plot of “Bananas” centers on Fielding Mellish (played by Woody Allen), a neurotic documentary producer who tries to win the heart of his beloved Nancy (Louise Lasser), a political activist committed to the cause of the poor and the oppressed. After Nancy leaves him, Fielding experiences an existential crisis and decides to travel to a small, fictional Latin American republic. There, he meets a group of rebels attempting to overthrow the ruling regime and ultimately ends up becoming their leader.

As the story unfolds, the political situation in the country becomes increasingly chaotic and surreal, with Fielding finding himself involved in a series of comic and absurd situations, such as a basketball game with bizarre rules, a farcical trial in which he is accused of treason, and a coup d’état that turns him into the country’s new dictator. Alongside this main storyline, the film also features a series of humorous scenes and gags that satirize various aspects of American society and international politics, consistently maintaining a surreal and paradoxical comic style.

Harold and Maude (1971)

Harold and Maude, a film about fate and the holocaust, is truly a comedy? Yet, if it’s not a comedy, what is it? In this, of course, lies his genius: it is nothing but real. Failure upon initial release, forgotten for decades and then gladly discovered, Harold and Maude are now firmly established as one of the cult movies of all time. The plot is unconventional for a comedy: the story of a teenage boy and a 79-year-old survivor in a concentration camp. Yet the themes of self-discovery and universal love speak to us all.

Queen Of The Lot

Now Available

Comedy, drama by Henry Jaglom, United States, 2010.
An electronic ankle bracelet and house arrest aren't enough to stop aspiring actress Maggie Chase (Tanna Frederick) from achieving what she desires: popularity and true love. Maggie is determined to make her way off the action / adventure B-movie list and achieve notable movie fame. With a group of managers wanting to help her make it to the covers of the tabloids, and famed actor Dov Lambert, Maggie's stardom rises. Things get complicated when she on a trip to meet Dov lei's family members Maggie she discovers the world of Hollywood's kings (Kathryn Crosby, Mary Crosby, Peter Bogdanovich, Dennis Christopher and Jack Heller). And that world isn't exactly what she imagined.

In this follow-up to 2006 indie comedy drama 'Hollywood Dreams', enthusiastic and insane actress Margie Chizek (Tanna Frederick) has finally arrived in Hollywood as an actress in a B-movie. Maggie's strategies for greater fame could destroy. his film career when he meets the brother of his beloved Aaron (Noah Wyle), who is the black sheep of the Lambert family of actors, but also seems to be the only one who sees the still unstable Maggie for the person she really is . Writer / director Henry Jaglom has a penchant for developing characters that may not be quite pleasant, but are realistic and show a wide range of feelings. Tanna Frederick plays the role of Maggie with skill and she copes well with susceptibility, charm and addiction as she struggles to find happiness in the fierce world of Hollywood. Jaglom reveals that he has real experience of how the Los Angeles film industry really works and how exactly he takes his toll on the private lives of celebrities. Another of Jaglom's qualities as a screenwriter and director is his ability to get into the drama and love his characters without rhetoric. Queen of the Lot is a fun and intriguing indie film, out of the box. Tanna Frederick once again confirms herself as a passionate, gifted and charming actress.

LANGUAGE: English
SUBTITLES: Spanish, French, German, Portuguese

WATCH NOW

The Heartbreak Kid (1972)

Improvisational pioneer Elaine May completely changed comedy with her artistic collaboration with Mike Nichols. In a fair world, his Heartbreak Kid would surely be his calling card: a comedy born from the pen of Neil Simon that includes one of the most difficult roles of Charles Grodin’s career. In a masterpiece of unpleasant tension, Grodin plays a salesman who unexpectedly, as if on his way to his honeymoon, knows that his new bride is the worst ever, after he succumbs to another suitor while his unwary partner recovers from a sunburn. Grodin and Shepherd do wonders in making their characters believable. A little known American comedy classic.

Frankenstein Junior (1974)

Mel Brooks’ refined comedic style flourishes brilliantly as a side-splitting parody, largely because it simultaneously serves as an affectionate homage to the beloved Frankenstein films of the 1930s. This duality is especially evident in the narrative centered on the character of the old Baron’s nephew, portrayed by Gene Wilder, who is determined to reanimate the creature. Brooks expertly amplifies the story’s absurdity to delightful extremes, particularly in a memorable scene where Wilder, clad in a tuxedo, performs an unexpectedly charming and comedic singing and dancing routine. This performance seeks to demonstrate that his creation, played by Peter Boyle, is indeed a remarkable invention. This film set the standard for many imitations that followed, establishing itself as the original in an enduring legacy of comedic interpretations.

The Return of the Pink Panther (1975)

Eleven years after the release of A Shot in the Dark, Blake Edwards and Peter Sellers decided to retrace their steps and breathe new life into the renowned Clouseau franchise. Actor Christopher Plummer was cast as the skilled jewel thief Sir Charles, bringing a touch of elegance to the character, while Catherine Schell devoted herself wholeheartedly to preserving her reputation as a respectable and honorable woman, creating a subtle tension between appearance and reality. The comedian Herbert Lom, known for his ability to convey an unmatched sense of nervousness, joined forces with the loyal ninja butler Burt Kwouk; together they embraced exaggerated performances marked by deliberately excessive hand movements, lending their scenes an irresistible comic flair that captivated audiences. Nevertheless, Sellers’s unparalleled and refined French inflections remained a hallmark of the series, continuing to earn enthusiastic praise for their elegance and distinctive humor—qualities that had made the character famous and charmed viewers around the world.

Nuts In May (1976)

Among the numerous television films crafted by Mike Leigh during the 1970s, this particular comedy stands out for its engaging portrayal of two “environmentally conscious” middle-class Londoners. Set against the backdrop of a Dorset campsite, the storyline beautifully captures the essence of these characters as they navigate their eco-friendly ideals, often finding themselves in humorous self-reflection akin to Leigh’s more renowned work, Abigail’s Party. As they arrive in the countryside, the easily irritable Keith (portrayed by Roger Sloman) expresses disdain for eggs that aren’t from free-range sources. Meanwhile, his wife, Candice Marie (played by Alison Steadman), gradually reveals complexities beneath her seemingly docile demeanor. This dynamic exploration of character attributes and socio-environmental themes is executed with a comparable finesse and depth, showcasing Leigh’s ability to blend humor with incisive social commentary. The interactions between Keith and Candice Marie not only provide entertainment but also subtly critique the often superficial adherence to environmentalism among certain urban middle classes.

The Astronot

Now Available

Comedy, drama, by Tim Cash, United States, 2018.
Daniel McKovsky is a lost soul wandering the universe. Alone for 30 years he spends his nights staring at the sky with a brass telescope as his only companion. As she looks up, his mind flashes back to that day when as a boy his father hadn't returned from World War II. Having already lost his mother in childbirth, this second stroke sends Daniel down a dark path of isolation deep in the woods of central Oregon. While staring at the moon in the 1950s and 60s, Daniel dreams of becoming an astronaut. The irony though is that he rarely ventures far from his surroundings. The only spark in his life at that moment is the space race between the United States and the Soviet Union to become the first nation to reach the moon. In 1969, a young postal worker named Sandy walks up his driveway with a package for him. It is the antithesis of Daniel; outgoing and vivacious compared to his quiet and reserved nature.

The Astronot is the singular story of a naive and pure character who in some respects recalls the famous Forrest Gump, but unlike him is destined to always be among the losers. From childhood to adulthood, Daniel never loses his enthusiasm for life, even if he has to be content only with picking up metal objects in a wasteland and lives completely alone after losing both parents. The Astronot is a romantic comedy with a vintage aesthetic, set in a remote rural area in the United States. Despite the funny tone, however, life events have a dramatic impact on Daniel's life, almost like a curse, a continuous betrayal of existence that makes fun of a fragile soul. A funny character who experiences tragic situations and creates a strong empathy with the public.

LANGUAGE: English
SUBTITLES: Spanish, French, German, Portuguese

WATCH NOW

Slap Shot (1977)

Paul Newman revels in what is considered the most unenviable and least glamorous task of his profession—that of a former player-manager of a struggling lower-tier ice hockey team facing the threat of termination. Initially softened for its strong language, the film directed by George Roy Hill has since cultivated a devoted cult following. Today, it stands not only as a significant sports comedy but also as a vivid portrait of masculinity set against the backdrop of an America in decline.

National Lampoon’s Animal House (1978)

The National Burlesque Project, a spirited and unconventional ensemble of lively playboys, spirited teens, and eccentric misfits, faces the looming threat of being disciplined and potentially expelled by their austere university principal. This storyline may ring a bell, likely because it has inspired and been emulated by a myriad of college-based films over the years, from the raucous escapades of American Pie all the way to the modern antics seen in Zac Efron’s feature film, Bad Neighbors. Yet, none of these successors have managed to capture or replicate the audacious spirit and boundless energy that John Belushi and his fellow cast members originally brought to this narrative. Their bold performances set a precedent for the wild and unapologetic humor that has since become a staple of college-themed comedies.

The Blues Brothers (1980)

The debate surrounding “The Blues Brothers” has been a source of heated discussion and confusion ever since its release. Many wonder if the film is an instance of two white men capitalizing on the rich and culturally significant narrative of spiritual music, raising questions about cultural appropriation. On the other hand, some view it as a heartfelt homage that pays respect to an iconic and distinctly American musical genre, celebrating its roots and influences with genuine reverence. In truth, the film encapsulates elements of both perspectives, blending them into its narrative. Fortunately, it offers more than controversy—it boasts a meticulously crafted story, a lively and engaging script, and an exhilarating array of car chases and stunts that keep viewers entertained, especially during the moments when the antics of John Belushi and Dan Aykroyd get a bit overly extravagant. However, the true essence of the movie lies within its outstanding musical performances. The presence of legendary artists like Cab Calloway, Ray Charles, and James Brown injects the film with an authentic musical soul. Yet, it is Aretha Franklin’s powerful rendition of “Respect” that stands out, commanding attention and resonating deeply with the audience, making them sit up and shiver with its electrifying intensity.

The King of Comedy (1982)

Martin Scorsese, known primarily for his seminal contributions to dramatic cinema, is not typically associated with comedic films. Yet, in 2013, he crafted a significant comedic success with The Wolf of Wall Street, a movie that stood out as one of the most entertaining releases of the year. However, examining his earlier work shows his adept handling of comedy as seen in his 1982 masterpiece, which followed the intense drama of Raging Bull. This film is an intricate tapestry of humor and pathos, interwoven with a series of clever gags and laugh-out-loud moments. At its center, Robert De Niro delivers a captivating performance as Rupert Pupkin, a sociopath with ill-placed ambitions, whose desperation to ascend to the limelight of comedy leads him to kidnap a renowned television host, portrayed with brilliance by Jerry Lewis. The narrative unfolds not just as a source of amusement but resonates on multiple levels, delving into themes that are as unsettling as they are humorous, creating an impact that’s both entertaining and deeply reflective.

The Kid

Now Available

By Charlie Chaplin, Comedy, United States, 1921.
Charlie Chaplin writes, produces independently, directs and interprets his first feature film, a masterpiece in the history of cinema which after a century keeps its charm perfectly intact. A poor woman abandons her son in a luxury car hoping that the wealthy owner will take care of the baby. But it will be the tramp Charlot who will find him. Remastered in high definition.

LANGUAGE: english
SUBTITLES: italian

WATCH NOW

Tootsie (1982)

Certainly, this is a film featuring the notable Dustin Hoffman. However, it is Bill Murray who truly lingers in the audience’s memory, serving as the wellspring of the majority of the film’s most substantial laughs and encapsulating a significant portion of its core spirit. The premise of an individual disguising themselves as a woman to secure a more favorable employment position is indeed unsettling, and the approach to feminism presented is unquestionably archaic. Nonetheless, the performances delivered by the cast are nothing short of extraordinary, maintaining a level of excellence that continues to impress. Furthermore, the script retains its brilliance, resonating with audiences even today thanks to its clever dialogue and engaging narrative structure. Under the direction of Sydney Pollack, the film succeeds in capturing and holding the audience’s attention, demonstrating his skill and finesse in creating a captivating cinematic experience.

Local Hero (1983)

Peter Riegert, an exceptionally underrated comedic talent whose work in films such as “The Mask” and “Animal House” truly stands out, takes on the role of a lawyer who is dispatched to a quaint Scottish fishing village. The village is under the watchful eye of an American oil conglomerate intent on acquiring it. However, something unexpected occurs as the lawyer, initially there to facilitate the corporation’s agenda, finds himself enchanted by the charm and simplicity of the village. The narrative unfolds as the archetypal tale of the underdog challenging a towering industrial giant, with Burt Lancaster embodying the formidable oil magnate. This compelling story resonates deeply with viewers, offering a poignant reflection on the essence of life beyond the ceaseless pursuit of wealth. Is there, perhaps, a richer existence beyond the relentless chase of the dollar?

Top secret! (1984)

Eager to make amends for their previous take on a World War II spy film while remaining sensitive to the notion that, contrary to Mel Brooks’ comedic perspective, the Nazis were far from amusing, Zucker, Abrahams, and Zucker conceived the concept of a madcap American rockstar dispatched to East Berlin with the covert mission to infiltrate Soviet forces. Although the outcome does not reach the frenzied heights of their other works such as Airplane! or The Naked Gun, the humorous elements are undeniably effective: Peter Cushing’s hilariously exaggerated giant eye, a spot-on spoof of Val Kilmer emulating the Beach Boys, and a collection of enduring wordplay. This comedic endeavor showcases a blend of satirical wit and sharp humor that leaves a lasting impression on its audience, even if it doesn’t quite match the dynamism of their more renowned productions.

Broadway Danny Rose (1984)

Woody Allen is intricately engaged in both honoring and laying to rest his hero, Danny Rose, in this poetic portrayal of Broadway, commonly referred to as the Great White Way. Danny Rose, a clever optimist, also indulges in lifelong dreams, embodying the essence of a naive theater representative, who affectionately cares for his eclectic roster of performers. These include his forlorn troupe of entertainers, featuring blind xylophonists, skilled tap dancers, and ice-skating penguins typically adorned as Hasidic rabbis. Despite Danny’s unwavering belief in their potential, it remains evident to others that an era is swiftly coming to an end. Although Danny is rendered as an uncomplicated comedic figure, Allen bestows upon him a layer of depth through a compassionate, mourning, and affectionate lens, capturing the essence of a bygone time in the theater realm.

Pee-wee’s Big Adventure (1985)

First film of Tim Burton may just be proof that the director is much better off with low-budget plans, as long as he has a strong collaborator. Starting with a famous soundtrack by Danny Elfman, the story culminates with a satire of espionage. Pee-Wee is a traditional road movie in which a hyperactive child becomes an almost mystical prophet along the way who lights up the lives of wanderers and rebellious souls as they search for a lost bicycle. Burton’s signature style is everywhere in this film. It’s Paul Reubens’ finely tuned mania that makes the film as vital at the moment as it was when it launched the careers of its creators: the comedian captures the essence of youth while delighting one laugh at a time.

Three Amigos! (1986)

This wild and zany Hollywood comedy follows three aging stars from the silent film era who embark on an unexpected adventure. Their journey takes them to Mexico, where they intend to make an appearance at the birthday celebration of a notorious warlord. However, things take a turn when they find themselves inadvertently leading a rebellion on behalf of a local farmer. The film is filled with hilariously absurd antics, with much of the humor stemming from quirky accents and slapstick mishaps, particularly when Martin repeatedly falls to the ground. Yet, amidst the chaos, Alfonso Arau delivers a powerful and unforgettable performance as the formidable villain, El Guapo. Additionally, Randy Newman’s brief yet impactful cameo adds another layer of delightful surprise to this madcap comedy.

Raising Arizona (1987)

The Coen brothers made a full 180 degree reversal after the anarchist film noir to make perhaps their craziest comedy, filled with wildly conceived characters, tongue-twisting arguments and a huge amount of heart. Sure, Raising Arizona has to do with a couple – a maniac Holly Hunter and a submissive Nicolas Cage – who steal a baby from a millionaire and a biker forged in hellfire in the same Arizona desert full of thugs. This is a Coen brothers movie. But it is also their sweetest madness, supported by a series of deeply felt interpretations.

Midnight Run (1988)

A film whose reputation seems to broaden and deepen as each year goes by, Midnight Run establishes itself as an extraordinary blend of comedy and thriller, centered around a duo of unlikely companions on a road trip adventure. Initially introduced as such, it soon reveals itself to be an impeccably crafted and sharply executed piece of cinema. In this story, Robert De Niro brilliantly portrays the character of a bail bondsman assigned the challenging task of escorting the sarcastic and reluctant mob accountant, embodied by Charles Grodin, across the country from New York to Los Angeles. Grodin’s character is unrelentingly sardonic, voicing complaints and expressing dissatisfaction throughout the journey. Each moment of the film is filled with relentless energy, with the narrative never losing momentum. The supporting cast is portrayed with remarkable depth and nuance, and the script is crafted with such precision that it slices through the plot like a finely honed scalpel, leaving audiences captivated by its wit and intensity.

Wayne’s World (1992)

A film that intricately explores and captures the increasing sense of existential aimlessness characteristic of the grunge era stands as a hallmark of its time. Perhaps, in hindsight, we didn’t fully appreciate what it represented: Wayne’s World is an eccentric and whimsical snapshot of life, infused with a profound spirit that distinguished it from the majority of other teen-oriented films emerging from the vibrant early 90s cinematic landscape. Its enduring influence cannot be understated, as it paved the way for other notable comedies, such as A Night at the Roxbury and It’s Pat, solidifying its role as a cultural touchstone in shaping the comedic narrative of its successors.

Clueless (1995)

Inspired by Jane Austen’s Emma, ​​Clueless narrates the story of Cher Horowitz, portrayed by Alicia Silverstone, who is a fashion-savvy young adult with an intense passion for shopping and clothing. She takes on the challenge of guiding Tai, played by Brittnay Murphy, through the intricacies and social dynamics of high school life. Although often categorized as a teen movie, Clueless is far more significant; even after nearly three decades since its release, it continues to wield substantial social influence. Its impact is evident in various spheres, from the music videos that draw inspiration from its style to the fashion trends that echo its iconic looks. At the heart of its enduring appeal and clever allure is Silverstone’s remarkable performance, infusing the film with a distinct charm and sharp wit that resonate with audiences even today.

Waiting for Guffman (1996)

Just as the character Nigel Tufnel is integral to the enduring charm of “This Is Spinal Tap,” Christopher Guest also played a crucial role in its success. Similarly, he ventured into directing, crafting remarkable works of situational improvisation like “Best in Show,” “For Your Consideration,” and this particular film. The exceptional cast features a group of amateur actors whose dreams are tightly bound to the possibility of a favorable review from an influential critic. However, the outcome of their efforts at the “Red, White, and Blaine” contest is painfully obvious to everyone but themselves. This film presents a narrative that is typically discomforting yet frequently humorous, offering a homage to the often misguided nature of self-deceptive ambition.

Kingpin (1996)

In Kingpin, the Farrelly brothers delve deep into the realm of mystical comedy, weaving an adventurous and bold narrative that follows the journey of an Amish bowler and his melancholy, one-handed mentor. Together, they embark on an entertaining cross-country trek to compete at the national championships. The film skillfully balances humor and heart, providing a unique exploration of camaraderie and ambition. Not to be overlooked is Lin Shaye’s standout performance as Harrelson’s outrageous and relentlessly lascivious landlady, a character so vividly portrayed that her unforgettable presence lingers long after the film concludes. The Farrelly brothers’ directorial vision brings a refreshingly audacious story to life, enriched with visual wit and a cast of eccentric characters, each contributing to this delightfully offbeat comedy.

Rushmore (1998)

Certain films have the unique ability to construct an entire universe of their own, and Rushmore stands out as a prime example of this phenomenon. The setting of Rushmore Academy and its expansive environment quickly become intimate and recognizable to viewers. Within its confines, one encounters an eclectic assembly of characters: the listless affluent individuals mingling with wandering Scotsmen, aquatic champions who captivate their grieving enthusiasts, and stern headmasters balancing the lively presence of amiable Asian teenagers. At the heart of this whimsical narrative is the irresistibly charming but infuriating Max Fischer. There are indeed echoes of Harold and Maude, as well as the distinct style of Hal Hartley within this cinematic experience, yet Rushmore manages to maintain a refreshing sense of originality and relevance, continually resonating with contemporary audiences.

The Royal Tenenbaums (2001)

Wes Anderson’s third feature film revolves around three central characters who are summoned back to New York at the behest of their ailing father. Portrayed by Gwyneth Paltrow, Luke Wilson, and Ben Stiller, the siblings find themselves entrenched in a quintessentially Andersonian world, characterized by vibrant hyper-stylization and an array of pastel hues. The thoughtfully crafted script is a veritable treasure trove of innovative concepts and sparkling dialogue. Nonetheless, it is the poignant and often bittersweet exploration of themes surrounding love and dissatisfaction that imbues the film with its unique and enchanting charm, captivating audiences and leaving a lasting impression. Anderson weaves these elements together seamlessly, crafting a narrative that resonates on a deeply emotional level while retaining the distinctive artistic flair for which he is renowned.

School of Rock (2003)

Jack Black reaches a pinnacle moment in his career in this captivating tale exploring the journey of an artist who finds himself unexpectedly assuming the role of a substitute teacher. This initially accidental undertaking leads him into a classroom filled with students who are often seen as outsiders or misfits. While the narrative bears some resemblance to “Sister Act 2,” Richard Linklater’s film sets itself apart through a vibrant and lively spirit that perfectly embodies the essence of the word “exuberant.” The movie is a whirlwind of humor and comedic brilliance, showcasing daring performances from the young cast who deliver their roles with both heart and enthusiasm.

Elf (2003)

The narrative of Buddy, known as the “fairy,” who is actually a human raised at the North Pole alongside Santa and his elves, and his quest to discover his biological father, is swiftly evolving into a cherished holiday classic. This tale beautifully contrasts Buddy’s character—played by Will Ferrell as a naive yet delightful character who inadvertently causes chaos—with his father, a stern and business-oriented individual, creating poignant scenes filled with humor and emotional depth. Moreover, director Jon Favreau masterfully delivers these emotions with a delicate blend of irony and authenticity, ensuring that each moment resonates with genuine sentiment, making the story equally touching and entertaining.

Mean Girls (2004)

When Cady Heron, portrayed by Lindsay Lohan, transitions from living with her parents in Africa to navigating the complexities of an American high school, she experiences a stark cultural shock. The school’s social hierarchy is intensely competitive, where popularity and appearance reign supreme. As Cady attempts to find her place in this bewildering environment, she finds herself entangled with The Plastics, an exclusive and influential clique of girls. This journey is filled with uproarious laughter, driven by a screenplay penned by the talented Tina Fey. The film not only offers moments of genuine humor but also provides insightful understanding and empathy, alongside a fair share of wit and critique of high school dynamics.

Napoleon Dynamite (2004)

It’s quite evident that Napoleon Dynamite, the tall and somewhat awkward high school student hailing from Idaho, struggles significantly when it comes to comprehending the fairer sex. This socially awkward individual embodies the quintessential loser character, navigating through the trials of adolescence with an endearing yet bumbling charm. However, it is when he unearths a certain flair for dancing that his story takes a delightfully amusing turn, infusing the narrative with a newfound energy and humor.What truly adds a layer of comedic brilliance to this tale is Efren Ramirez’s portrayal of Pedro, Napoleon’s steadfast friend who embarks on an unexpected journey from an unassuming student to the president of the school’s student body. Pedro’s rise to prominence, coupled with his unwavering loyalty to Napoleon, presents a captivating subplot that enriches the overall narrative. Together, these characters traverse the complexities of high school life, their antics creating a tapestry of humor, friendship, and unconventional charm, making for a truly entertaining cinematic experience.

Popstar: Never Stop Never Stopping (2016)

The movie satirizes the world of contemporary pop celebrities, cleverly poking fun at their inflated egos and the culture that surrounds them. It employs a sharp wit and biting humor to critique a wide range of topics, extending from the intricacies and absurdities of national politics to the superficial and fleeting nature of boybands. Furthermore, it highlights the often-overlooked risks associated with extravagant celebrity weddings, exposing the underlying absurdity of such events. Among the film’s standout characters is Connor’s PR representative, who is portrayed with a keenly effective and acerbic edge, making them one of the most memorable and impactful roles within the story.

The Big Sick (2017)

There aren’t many modern comedies with the chutzpah to gag 9/11. There are even fewer that offer us a shocking love of Pakistani-American culture that isn’t awash in clichés. Emily V Gordon and Kumail Nanjiani, the real-life couple who wrote a real-life inspired gem do both … and so much more. Emily and Kumail do all the normal things: dating, making love, enjoying Vincent Price movies. When Kumail goes into a coma, there is anguish, health centers and parents to deal with. Wise and fun, The Big Sick is one of those offbeat comedies with something truly groundbreaking.

Booksmart (2019)

Amy (played by Kaitlyn Dever) and Molly (portrayed by Beanie Feldstein), two inseparable friends nearing the conclusion of their high school journey, are eager to embrace their futures at the prestigious Ivy League colleges. Their academic dedication and focus had left them confident in their choices, believing that forsaking frivolities had been essential for securing their academic futures. However, as they stand on the precipice of graduation day, ready to celebrate their accomplishments, a startling revelation shakes their understanding of what it means to succeed.To their surprise and dismay, they discover that a life of relentless study and social abstinence is not the sole path to success. Among the ranks of their classmates are peers who, despite living vibrant and socially active lives characterized by parties, friendships, romance, and all the quintessential elements of teenage fun, have also achieved admissions to the same elite universities. This unexpected realization prompts Amy and Molly to reevaluate their high school experience, sparking a desire to seize the moments they’ve missed in a frantic, yet sincere, pursuit of delayed youth.The film, marking Olivia Wilde’s debut as a director, captures with both humor and heart the boisterous and earnest attempts of these friends to experience the fun they feel they deserve before leaving their hometown behind. In an entertaining journey of self-discovery and enlightenment, they set out on a whirlwind of adventure, determined to live fully and without regrets. Following her remarkable performance in “Lady Bird,” Beanie Feldstein shines again, proving herself as one of the most captivating and spirited actresses in contemporary cinema.

Insight

American Comedies in the Early Decades of the 1900s

American independent and arthouse comedies represent one of the pioneering genres in the chronicles of American cinema. These comedy films, particularly those made independently, began to flourish during the silent film era, spanning from roughly 1895 to 1930. The humor found in these silent films heavily relied on visual gags rooted in farce and burlesque. Slapstick comedy, a hallmark of the period, thrived on physical comedy that needed no dialogue, making laughter universal. As sound technology emerged in the late 1920s and early 1930s, the importance of dialogue rose dramatically, elevating the profiles of iconic film comedians such as W.C. Fields and the Marx Brothers. Moving into the 1960s, the genre expanded significantly with a rich array of comedies showcasing Hollywood’s brightest stars, adding diversification to comedic storytelling. The 1970s introduced a notable emphasis on black comedies, with influential filmmakers like Woody Allen and Mel Brooks leaving an indelible mark on the genre. Entering the 1990s, comedy evolved further with a bold embrace of zany humor, enriching the landscape of American independent cinema with inventive and outlandish comedic expression.

Charlie Chaplin, famously known for his portrayal of the tramp Charlot, stands as the most universally recognized symbol of comedy cinema. Along with contemporaries like Buster Keaton and Harold Lloyd, Chaplin’s influence remains unparalleled. In the late 1920s, the revolutionary introduction of sound in films opened new avenues for storytelling and humor, allowing for more dynamic and diverse cinematic experiences. However, Chaplin, a silent film icon, adapted uniquely to this shift. In the 1930s, he chose to forego traditional dialogue in his movies, opting instead for the strategic use of sound effects to enhance his storytelling, proving his artistry in silent film was still relevant and powerful.The evolution of comedy cinema continued with the emergence of screwball comedies, led by filmmakers like Frank Capra. In the 1940s, Capra’s films depicted idyllic environments that upheld social values and offered an optimistic vision of daily life. These films combined slapstick humor with witty dialogue, creating a charming blend that resonated with audiences. The humor was not only a tool for entertainment but also a way to comfort and uplift, reflecting the aspirations and hopes of society at the time. The overlap of these comedic elements showcased the growth and versatility of the comedy genre as it evolved from silent roots to more sophisticated narrative styles, forever weaving slapstick into the fabric of talking cinema.

American comedy from the 1950s onwards

When television filled with family comedies in the 1950s, only the Walt Disney studios were left to produce comedies. The Comedy films declined dramatically during this decade. In 1947 nearly one in five independent films were comedies, but by 1954 the comedies were only ten percent. Thanks to stars like Marilyn Monroe and Tony Curtis, the sexy comedy became popular in the late 1950s. The following decade saw an increasing number of comedies made in Hollywood. A darker and more committed humor in social criticism also began to emerge such as Doctor Strangelove (1964) or The Apartment (1960).

In the year 1970, the black comedies Catch 22 and M * A * S * H ​​reflected the then widespread antiwar belief, as well as addressing the delicate subject of suicide. Among the protagonists of the comedy films of the following years were Woody Allen and Mel Brooks. They both wrote, performed and directed their films. Other outstanding film comedians who appeared later in the decade were Richard Pryor, Steve Martin, and Burt Reynolds. In 1980 was launched Airplane, a parody of the previous decade’s collection of disaster films, as well as paving the way for many others, including Top Secret! (1984). Famous comedy stars of the 1980s included Dudley Moore, Tom Hanks, Eddie Murphy, Robin Williams, and Dan Aykroyd. Numerous had actually been prominent on the American TV show Saturday Night Live.

Also popular were John Hughes such as National Lampoon’s VacatioNo. He would later become famous for the Home Alone collection from the very early 1990s. Among the significant growths of the 1990s was the re-emergence of American romantic comedy, encouraged by the success of Harry Met Sally, in 1989. Other examples were Sleepless in Seattle (1993), Clueless (1995). Further growth has been the growing use of zany humor generally aimed at younger audiences, in films such as Austin Powers, American Pie and its sequels, and even Freddy Got Fingered. In the mid-2000s, the vogue for “zany” films continued, with adult comedies hitting the box office. However, black comedy was also working well: The Weather Man, Broken Flowers, and Shopgirl. American comedy, often considered a minor genre, crosses levels of entertainment: from sophisticated comedy to teen comedies to demented comedy with insane characters. Every sense of humor, from the most intellectual to the heaviest, is satisfied, no matter how silly or innovative.