The funniest American comedies: a selection of movies to watch

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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.


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American comedies in the early decades of the 1900s

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American comedy films are one of the first genres to appear in the history of American cinema. American comedy films began to appear in considerable numbers during the silent film era, from about 1895 to 1930. The visual humor of these silent films was based on farce and burlesque. The slapstick comedy was based on visual representations, without the need for sound.

With the arrival of audio in the late 1920s and 1930s, dialogue increased the prestige of film comedians such as WC Fields and the Marx Brothers. The 1960s saw a growing variety of comedies filled with Hollywood star. In the 1970s, black comedies. Prominent figures in the 1970s were Woody Allen and Mel Brooks. Another advance, especially in the 1990s, was the growing use ofzany humor.

American-comedies

Charlie Chaplin as the tramp Charlot, is the “most universal symbol” of comedy cinema, along with Buster Keaton and Harold Lloyd. In the late 1920s, the introduction of sound made possible new film projects and spoken humor. Comedian Charlie Chaplin was just one of the silent film-era directors who stood up: his films in the 1930s were devoid of dialogue, although they used sound effects.

Screwball’s comedies such as those of Frank Capra later showed in the 1940s a pleasant and idealized environment that represented the guarantee of social values ​​and also a specific positive vision of daily life. The films still included slapstick humor complementary to the dialogue.


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American comedy from the 1950s onwards

American-comedies

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 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.

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.


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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.

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.

The Kid (1929)

Charlie Chaplin writes, produces, directs and interprets his first feature film, a masterpiece that after a century keeps its charm intact. A poor lady abandons her son in a luxury car wishing the wealthy owner would take care of the baby. However, it will be the tramp Charlot who will find him.

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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. 

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 Philadelphia Story (1940)

A romantic comedy that shines like gold, The Philadelphia Story is a delightful comedy of misunderstanding and misdeeds. Which of the 3 men will win the heart of Katharine Hepburn’s icy heiress on the eve of her wedding celebration? Her millionaire ex-husband Cary Grant, nosy journalist James Stewart or her boyfriend and businessman John Howard? Eventually you may think she picked the wrong man, however you can’t deny that this witty, enchanting and captivating film is a near-perfect American comedy.

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. 

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.

A Bucket of Blood (1959)

Produced on a budget of $ 50,000, it was shot in five days by the low-budget B-movie king Roger Corman. One evening, after listening to the words of Maxwell H. Brock, a poet who performs poetic readings at The Yellow Door cafe, the dull steward Walter Paisley returns home to try to create a sculpture of his mistress’s face. Carla house, but inadvertently kills her cat. Instead of giving the animal a proper burial, Walter covers the feline with clay, leaving the knife stuck inside.

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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.

The Odd Couple (1968)

The unrepentant Oscar (Walter Matthau) and the neurotic cleaning obsessed Felix (Jack Lemmon) play two old friends driven by marital relationship difficulties to share a Manhattan apartment. This theatrical version stages Neil Simon’s Broadway hit. The theatrical quality allows the actors to play with their different temperaments, unleashing a love-hate exasperation sustained by a life-long relationship. It’s so funny because it’s so believable: every person knows an Oscar as well as a Felix.

Take the Money and Run (1969)

If you try to rob a financial institution, it helps if you can encourage the bank itself to be a thief. Take the Money and also Run, Woody Allen, is an irreverent, sometimes glamorous, often decadent film full of visual tricks. While it lacks the emotional wisdom of Allen’s mid-career films, it remains an impressive debut for twentieth-century comedic actors / directors.

Bananas (1971)

The story of Woody Allen sounds like a mind-blowing comedy by Seth Rogen: a careless boy becomes the leader of a South American revolution. Between insane jokes and guerrillas you will find reflections on the corruption of power and on the media. It’s a little over the top, however it’s one of Allen’s best movies.

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.

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)

Refined comedy of Mel Brooks thrives as a hilarious parody because it is also a love letter to classic Frankenstein movies from the 1930s. As the old Baron’s nephew (Gene Wilder) brings the creature back to life, Brooks pushes the story to absurdity, significantly when Wilder performs a duo of singing and dancing in a tuxedo to prove that his beast (Peter Boyle) is a creation. The original in a long series of copies.

The Return of the Pink Panther (1975)

Eleven years after A Shot in the Dark, Edwards and Sellers returned to the Clouseau franchise. With Christopher Plummer now the gem hunter Sir Charles and Catherine Schell fight to maintain a respectable image. Nervous boss Herbert Lom and ninja butler Burt Kwouk overdo it with their hands, but Sellers’ French vowels remain magnificent.

Nuts In May (1976)

Of all the films Mike Leigh created for television in the 1970s, this comedy about two “environmentally friendly” middle-class Londoners complaining in a Dorset campsite and make fun of themselves is pretty much as well done as the more famous Abigail’s Party. Showing up in the country, touchy Keith (Roger Sloman) turns his nose up at non-free range eggs, while his wife Candice Marie (Alison Steadman) isn’t as passive as she initially appears.

Slap Shot (1977)

Paul Newman thrives on what is arguably the least heroic and worst duty of his profession as a former player-manager of a lower tier ice hockey group , threatened with dismissal. Laundered at the time for its language, George Roy Hilgarnered it a great cult and is now also a landmark sports comedy that’s also a fresco of masculinity in a declining America.

National Lampoon’s Animal House (1978)

The National Burlesque Project, a wild group of playboys, teens and misfits are in danger of being locked up by their university principal. If this storyline sounds familiar it is probably due to the fact that it has since been influenced by a whole host of college films, from the American Pie that follows through to the current Zac Efron film Bad Neighbors. None of them have the same courageous energy brought by the cast members as John Belushi.

The Blues Brothers (1980)

The debate over The Blues Brothers has been delusional since its launch. Is this an example of two white men manipulating the protagonists of spiritual music? Or is the film actually a loving tribute to a great American genre? The thing is, a little bit of both. But thankfully, there’s a wonderfully paced story, a punchy script, and a riot of cars to keep you busy whenever Belushi and Aykroyd’s heists force a little too much. Of course, the heart of the film remains in its music: Cab Calloway, Ray Charles and James Brown. But it’s Aretha Franklin’s “Respect” that will make you tremble in your chair.

Airplane! (1980)

A film that makes you laugh out loud even after countless visions, this was the second film by Jim Abraham and the Zucker brothers. Overflowing with purposeful cosmetic tricks and jokes, it’s a playful and zany parody of 1970s disaster movies and stars Robert Hays as a struggling ex-pilot who has to land an airliner when the real pilot crashes. gastrointestinal disturbance. Leslie Nielsen is the ship’s doctor.

The King of Comedy (1982)

Martin Scorsese is not famous for his comedy, although his 2013 hit The Wolf of Wall Street was perhaps one of the most fun of the year. This 1982 film, which follows Raging Bull, is full of gags and laughs. Robert De Niro’s sociopath and misguided Rupert Pupkin is so determined to become a famous comedian, despite lacking talent, that he kidnaps a TV show host played by Jerry Lewis. It’s an important film that has different levels of reading: funny, yes, but also seriously disturbing.

Tootsie (1982)

Sure, this is a film with Dustin Hoffman. But it’s Bill Murray who stays in the memory: the source of most of the film’s big laughs, as well as a good portion of its essence. The idea of ​​a person dressing up as a woman to get a better job is disturbing, and her strategy for feminism is definitely out of date. The performances are extraordinary, the script still shines, and director Sydney Pollacstill captivates.

Local Hero (1983)

Peter Riegert, a truly underrated “comedian” actor (see also: The Mask, Animal House), is a lawyer sent to a Scottish fishing village who is being targeted by an American oil company, only to fall under its spell. The story of the little man who pokes his nose at a business colossus, also under the company’s leviathan – represented by Burt Lancaster’s oil baron – captures the viewer. Maybe there is more to life than chasing dollars?

Top secret! (1984)

Eager to apologize for the WWII spy movie, but deeply aware that despite what Mel Brooks might think, the Nazis weren’t all that funny, Zucker, Abrahams and Zucker came up with the idea of ​​a demented American rock celebrity sent to East Berlin to infiltrate the Russkies. The result is not as rampant as one of the two airplanes! or The Naked Gun, but the gags really succeeded: Peter Cushing’s incredible giant eye, the perfect parody of Kilmer’s Beach Boys, and some timeless puns.

Broadway Danny Rose (1984)

Woody Allen is both concerned with burying and praising his hero Danny Rose in this lyrical portrait of the Great White Way. A shrewd optimist and also a lifelong dreamer, the naive theater rep Danny dotes on his sad stable, blind xylophonists, professional tap dancers, ice skating penguins dressed, normally, as Hasidic rabbis. Yet it is so clear to everyone else that an age is rapidly passing. While he is certainly a simple comic character, Allen gives him a compassionate, grief-stricken and affectionate look.

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 demented Hollywood comedy sees three dying silent era stars travel to Mexico to show up at a warlord’s birthday party only to end up leading a rebellion of a farmer. It’s all deeply demented, most of the jokes come from whimsical accents, asses and Martin falling to the ground, but Alfonso Arau’s thunderous performance as the atrocious El Guapo is a significant surprise, as is Randy Newman’s stunned cameo. .

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.

Before Midnight – Midnight Run (1988)

A film whose reputation seems to expand with each passing year, Midnight Run presents itself as a comedy thriller of friends on the road. That is, until you see exactly how impeccably written and fiercely direct. Robert De Niro wisely plays the role of bail supervisor who finds mob boss Charles Grodin, who proceeds to grumble and even whine completely from New York to Los Angeles. The pacing is merciless, the supporting characters are brilliantly sketched, and the script cuts like a scalpel.

Wayne’s World (1992)

A film that chronicles the growing lack of purpose of the grunge era. Maybe we didn’t deserve it: Wayne’s World is an absurd slice of life with a great soul that lasted well beyond the span of most teen-focused films of the early 90s. Just as surely, without Wayne’s World, there would be no A Night at the Roxbury or It’s Pat. 

Clueless (1995)

Based on Jane Austen’s Emma, ​​Clueless tells of Cher Horowitz (Alicia Silverstone), a young adult obsessed with shopping and clothing, as she drives Tai (Brittnay Murphy) through secondary school. It’s much more than a teen movie, however: for a movie that’s practically 30 years old, Clueless still has a lot of social influence, whether it’s music videos or fashion trends. Mostly, though, it is the outstanding performance of Silverstone that gives this film so much charm and wit.

Waiting for Guffman (1996)

Like Nigel Tufnel, Christopher Guest was part of the timeless success of This Is Spinal Tap. But in the same way he obtained directing, directing masterpieces of situational improvisation such as Best in Show, For Your Consideration and this film. The fantastic cast plays a group of amateur actors who pin their hopes on a review from a major critic, although what they will do with the “Red, White and also Blaine” contest is sadly clear to everyone else. Typically uncomfortable, often funny, it is a tribute to self-delusional aspiration.

Kingpin (1996)

Kingpin sees the Farrelly brothers tap into a mystical comedy imagery and create a daring story of an Amish bowler and his sad one-handed advisor as they cross the country to the national championships. Lin Shaye’s role as Harrelson’s grotesque and sexually rapacious landlady is unforgettable.

Rushmore (1998)

Some movies create a whole world. Rushmore is among the best of these. The grounds and surroundings of Rushmore Academy become familiar, populated by bored millionaires and also Scottish wanderers, water heroes and their mourning fans, gruff headmasters and sweet Asian teens, and of course, adorable but maddening Max Fischer. Yes, there’s a little bit of Harold and Maude in this movie, a little bit of Hal Hartley. Yet Rushmore always feels current and original.

Festival in Cannes (1999)

Cannes, 1999. Alice, an actress, wants to make an independent film, and is looking for investors. Meet Kaz, a talkative businessman, who guarantees her $ 3 million if he hires Millie, a French star who no longer finds glamorous roles. Alice tells the story of the film to Millie and the actress falls in love with the project. Rick, a famous producer who works for a large Hollywood studio, asks Millie for a small part in a mainstream movie, otherwise she will lose her celebrity, Tom Hanks. Is Kaz a real producer or is he a cheat? Rick isn’t really as rich as he used to be and he absolutely has to convince Alice to leave Millie to close the big deal with Tom Hanks.

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The Royal Tenenbaums (2001)

Third feature film of Wes Anderson follows three characters called back to New York by their dying father. Gwyneth Paltrow, Luke Wilson and Ben Stiller play the brothers, who move in a typically Anderson setting, with hyper-stylized features and pastel shades. The script contains so many good ideas, however it is the unfortunate narrative about love and dissatisfaction that gives the film its magic.

School of Rock (2003)

Jack Black goes to his most special moment in this story about an artist impersonating an alternate teacher and ending up in a course for misfits. Sure, it mirrors Sister Act 2, yet Richard Linklater’s film completely identifies with the term “exuberant.” Storm of jokes, courageous interpretations of the young cast.

Elf – (2003)

This story about Buddy the “fairy”, a human being raised in the North Pole by Santa and his elves, and also his journey to find his real dad is fast becoming a holiday classic. The juxtaposition between Ferrell’s partner, an innocent simpleton who accidentally wreaks havoc and devastation, and his brusque, stiff-lipped entrepreneur dad offers genuine moments of humor and sentiment. On the other hand, director Jon Favreau provides any kind of emotion with a skilful balance of irony and genuineness.

Mean Girls (2004)

When Cady (Lindsay Lohan) moves home from her mother and father in Africa to an American high school, she has a rude awakening. Challenged by the school’s power structure where the appeal means anything, she finds herself infiltrating The Plastics clique of girls. Full of moments to laugh out loud, the screenplay is written by Tina Fey. It is a film that gives genuine understanding and compassion, as well as a great deal of criticism and scolding.

Napoleon Dynamite (2004)

It’s safe to say that Idaho’s lanky high school student Napoleon Dynamite doesn’t really understand women. This social geek is a big loser character, and when he decides his skill is dancing, things get really fun. Watch out for Efren Ramirez’s humorous twist as Napoleon’s friend Pedro, a student-turned-president of the competing course.

Hollywood Dreams (2007)

Ambitious actress Margie Chizek seeks stardom in Hollywood. She is rejected by the film scene, falls in love, discovers the deception behind the world of advertising and marketing. Saved from ruin by a kind producer, Margie manages to enter the world of Hollywood and loves a young actor, who is developing his career by pretending to be gay. Hollywood Dreams engages the audience thanks to the extraordinary interpretation of Tanna Frederick and her character as a tormented and mentally unstable actress.

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Chasing Butterflies (2009)

Nina runs away from home hours before her wedding. In order not to postpone the wedding, her mother makes her believe that she is Nina and marries her betrothed. Not long after, they begin the search to find Nina and bring her back: Nina’s boyfriend is sure he doesn’t love him anymore. A fifteen-year-old nerdy boy meets Nina on the street and tries to impress her with his father’s Corvette. Meanwhile, a rebellious girl and her man who has just escaped from prison meet the boy and steal his Corvette, wreaking havoc with a series of thefts as they head to Canada in search of a better life.

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Popstar: Never Stop Never Stopping (2016)

The movie makes fun of modern pop celebrities and their egos. There is biting humor about everything from national politics, to boybands, to the dangers of celebrity wedding celebrations. Connor’s PR is among the most effective characters, as well as the most pungent.

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 (Kaitlyn Dever) and Molly (Beanie Feldstein) are two high school friends on the verge of living the Ivy League. However, on graduation day they discover a terrible fact: a life of bookish abstinence is not the only way. Their coolest, sexiest, and most party-loving schoolmates are also heading to elite universities.’s directorial launch Olivia Wilde chronicles the fun and sincere effort of a group of friends to grab the fun they are entitled to before they leave town. After Lady Bird, Feldstein once again shows that she is one of the craziest actresses around. 

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