Sometimes, at the end of a long day, you just need to laugh. And while there are a handful of quality sitcoms on the air right now, they rarely match the joys of a fully developed comedic film. The movies on this list range from romantic comedies to goofy slapstick to dramedies that soak their melancholy in laughter. But all are listed under “Comedy” according to Netflix’s genre descriptions and are currently available on Netflix Instant. So check out the best comedy movies on Netflix!
20. Sleepwalk With MeYear: 2012
Director: Mike Birbiglia
Charlie Chaplin once said, “To truly laugh, you must be able to take your pain and play with it.” Mike Birbiglia takes the pain of a struggling comic, an unsure boyfriend and a scared sleep-disorder patient, and plays with these mounting problems for our amusement. Not many sleep-disorder stories—even those first shared with Ira Glass on This American Life—have ever been as funny as Birbiglia’s.—Monica Castillo
19. Meet the Parents
Year: 2000
Director: Jay Roach
Robert DeNiro’s comedy chops are unquestionable at this point, partly thanks to his role as the over-protective father who brings out the absolute worst in his son-in-law to be, male nurse Gaylord Focker. Plenty of laugh-out-loud moments make this slapstick comedy of errors a fun, popcorn movie night.—Josh Jackson
Year: 2000
Director: Jay Roach
Robert DeNiro’s comedy chops are unquestionable at this point, partly thanks to his role as the over-protective father who brings out the absolute worst in his son-in-law to be, male nurse Gaylord Focker. Plenty of laugh-out-loud moments make this slapstick comedy of errors a fun, popcorn movie night.—Josh Jackson
18. The Trip
Year: 2011
Director: Michael Winterbottom
Two British actor/comedians playing versions of themselves travel the beautiful and bleak north England countryside, stopping to eat at various upscale restaurants, but mostly just talking. And talking and talking. And doing impressions of Michael Caine, Woody Allen, and Liam Neeson, as well as British personalities an American audience might not recognize. But mostly just talking, with overlapping affection and competition. Sound like a good idea for a film? It absolutely is.—Jonah Flicker
Year: 2011
Director: Michael Winterbottom
Two British actor/comedians playing versions of themselves travel the beautiful and bleak north England countryside, stopping to eat at various upscale restaurants, but mostly just talking. And talking and talking. And doing impressions of Michael Caine, Woody Allen, and Liam Neeson, as well as British personalities an American audience might not recognize. But mostly just talking, with overlapping affection and competition. Sound like a good idea for a film? It absolutely is.—Jonah Flicker
17. Clueless
Year: 1995
Director: Amy Heckerling
A combination of comedy, romance and high-school spunk, Cluelessis a story with true ’90s flair. Alicia Silverstone stars as the pretty and popular Cher, a privileged valley girl with a penchant for matchmaking. While she cruises potential boyfriends for her girlfriends, she struggles to figure out her relationships. The film is a charming, modern take on Jane Austen’s 1815 novel Emma, and with performances by a youthful Paul Rudd and Brittany Murphy, it’s anything but an airhead. Could we love this film anymore? As if!—Megan Farokhmanesh
Year: 1995
Director: Amy Heckerling
A combination of comedy, romance and high-school spunk, Cluelessis a story with true ’90s flair. Alicia Silverstone stars as the pretty and popular Cher, a privileged valley girl with a penchant for matchmaking. While she cruises potential boyfriends for her girlfriends, she struggles to figure out her relationships. The film is a charming, modern take on Jane Austen’s 1815 novel Emma, and with performances by a youthful Paul Rudd and Brittany Murphy, it’s anything but an airhead. Could we love this film anymore? As if!—Megan Farokhmanesh
16. Metropolitan
Year: 1990
Director: Whit Stillman
There have been nearly as many “next Woody Allens” in film as there have been “next Michael Jordans” in basketball or “next Bob Dylans” in music, but sometimes the moniker fits. In Whit Stillman’s debut, he staked his claim as the Woody of the upper-class WASPy NYC set and won a whole army of loyal followers. For good reason, too—seldom has any director, regardless of experience, so deftly juggled dialogue that could so easily have delved into too-clever-by-half-isms, or trained such a sympathetic eye on a sometimes questionable nostalgia for the end of an age. Most of all, though, seeing Metropolitan just makes you feel smart and witty and somehow elevated. Not bad for the price of a movie ticket.—Michael Dunaway
Year: 1990
Director: Whit Stillman
There have been nearly as many “next Woody Allens” in film as there have been “next Michael Jordans” in basketball or “next Bob Dylans” in music, but sometimes the moniker fits. In Whit Stillman’s debut, he staked his claim as the Woody of the upper-class WASPy NYC set and won a whole army of loyal followers. For good reason, too—seldom has any director, regardless of experience, so deftly juggled dialogue that could so easily have delved into too-clever-by-half-isms, or trained such a sympathetic eye on a sometimes questionable nostalgia for the end of an age. Most of all, though, seeing Metropolitan just makes you feel smart and witty and somehow elevated. Not bad for the price of a movie ticket.—Michael Dunaway
15. Harold and Maude
Year: 1971
Director: Hal Ashby
I guess you could categorize this as a romantic comedy. Teenaged Harold (Bud Cort) and 79-year-old Maude (Ruth Gordon) do find love. And it is darkly funny. But Hal Ahsby’s masterpiece is unlike anything we’ve seen before or since its 1971 release.—Josh Jackson
14. Barton Fink
Year: 1991
Director: Joel Coen
While hung up with the intricate plotting of Miller’s Crossing, The Coen Brothers took a break to write a script about a blocked screenwriter (Jon Turturro). Reminiscent of Stanley Kubrick and David Lynch at their most darkly satiric, Barton Fink depicts a self-important New York playwright who struggles to write a Hollywood wrestling picture while residing in a rotting hotel. A jaundiced metaphor for the compromised creative process of show business, Barton Fink delivers the deadpan comedy and quirky performances of the Coen’s trademark, including Oscar nominee Michael Lerner as a bombastic studio chief, John Mahoney as a boozing, Faulkner-esque novel, and John Goodman as a cheerful salesman with a dark secret. Audiences can obsess over the meaning of lines like Goodman’s “I’ll show you the life of the mind!” but any answers the film holds are unlikely to be reassuring.—Curt Holman
Year: 1991
Director: Joel Coen
While hung up with the intricate plotting of Miller’s Crossing, The Coen Brothers took a break to write a script about a blocked screenwriter (Jon Turturro). Reminiscent of Stanley Kubrick and David Lynch at their most darkly satiric, Barton Fink depicts a self-important New York playwright who struggles to write a Hollywood wrestling picture while residing in a rotting hotel. A jaundiced metaphor for the compromised creative process of show business, Barton Fink delivers the deadpan comedy and quirky performances of the Coen’s trademark, including Oscar nominee Michael Lerner as a bombastic studio chief, John Mahoney as a boozing, Faulkner-esque novel, and John Goodman as a cheerful salesman with a dark secret. Audiences can obsess over the meaning of lines like Goodman’s “I’ll show you the life of the mind!” but any answers the film holds are unlikely to be reassuring.—Curt Holman
13. This is Spinal TapYear: 1984
Director: Rob Reiner
This is satire at its best, as “the world’s loudest band” tours the country with outrageous songs, even more outrageous leather pants, and amps that go just a little bit higher. Christopher Guest plays the misguided lead guitarist, Nigel Tufnel, and his biting comedic timing carries the film. It’s a must-see for music fans of any genre.—Caroline Klibanoff
12. In the Loop
Year: 2009
Director: Armando Iannucci
If clever verbal humor were easy, we’d have more comedies like In the Loop. But it’s not, and this one stands in a class of its own. It’s the most quotable film of the decade—by miles—and the cynical potty mouths on screen are so articulate and creative that, after the avalanche of witticisms, you’re left with the lingering sense that you’ve seen not just a funny movie but also a wicked political satire of the highest order, the kind where the absurdity speaks for itself.—Robert Davis
Year: 2009
Director: Armando Iannucci
If clever verbal humor were easy, we’d have more comedies like In the Loop. But it’s not, and this one stands in a class of its own. It’s the most quotable film of the decade—by miles—and the cynical potty mouths on screen are so articulate and creative that, after the avalanche of witticisms, you’re left with the lingering sense that you’ve seen not just a funny movie but also a wicked political satire of the highest order, the kind where the absurdity speaks for itself.—Robert Davis
11. Dr. Horrible’s Sing Along Blog
Year: 2008
Director: Joss Whedon
Written during the 2007-2008 Writers Guild of America strike, Joss Whedon’s NPH-starring sinister musical series was one of the first to have success online. The serial/movie follows Dr. Horrible as he struggles to balance his life as an evil genius with his love life. His crush is the lovable Felicia Day, and his nemesis, Captain Hammer, is played by Nathan Fillion.—Riley Ubben
Year: 2008
Director: Joss Whedon
Written during the 2007-2008 Writers Guild of America strike, Joss Whedon’s NPH-starring sinister musical series was one of the first to have success online. The serial/movie follows Dr. Horrible as he struggles to balance his life as an evil genius with his love life. His crush is the lovable Felicia Day, and his nemesis, Captain Hammer, is played by Nathan Fillion.—Riley Ubben
10. Lars and the Real GirlYear: 2007
Director: Craig Gillespie
Lars and the Real Girl‘s premise should have been cringe-worthy: Ryan Gosling dates a life-size sex doll, and the entire town goes to great lengths to protect the fairy tale. But Nancy Oliver’s Oscar-nominated script is so gentle, and so melancholic, that it becomes a quietly powerful story of a stunted man who finally comes of age. Darkly funny but sweet-natured, Lars is a small treasure.
9. Groundhog Day
Year: 1993
Director: Harold Ramis
Bill Murray, director/co-writer Harold Ramis and screenwriter Danny Rubin take a “Twilight Zone”-esque comedic premis—a self-centered weatherman gets stuck experiencing February 2 again and again—and find unexpected profundity. A more conventional film would have love resolve the chronological predicament, but instead, it falls to Murray to become the best man he can possibly be. A Hollywood comedy that challenges middle-class Americans to better themselves, Groundhog Day doesn’t just elicit laughs, but leaves audiences more deeply moved than they ever expected. It’s also inspired some obsessive fans, including one fellow who calculated, down to the day, the number ofdecades Murray spent in February 2.—Curt Holman
Year: 1993
Director: Harold Ramis
Bill Murray, director/co-writer Harold Ramis and screenwriter Danny Rubin take a “Twilight Zone”-esque comedic premis—a self-centered weatherman gets stuck experiencing February 2 again and again—and find unexpected profundity. A more conventional film would have love resolve the chronological predicament, but instead, it falls to Murray to become the best man he can possibly be. A Hollywood comedy that challenges middle-class Americans to better themselves, Groundhog Day doesn’t just elicit laughs, but leaves audiences more deeply moved than they ever expected. It’s also inspired some obsessive fans, including one fellow who calculated, down to the day, the number ofdecades Murray spent in February 2.—Curt Holman
Year: 1988
Director: Charles Crichton
This ensemble piece shows what can happen when four skilled comic actors (John Cleese, fellow Monty Python alum Michael Palin, Kevin Kline and Jamie Lee Curtis) are given a script (written by Cleese) that puts them all on equal footing. The result is a tour-de-force of crisply delivered, character-driven comedy that, while tough on old ladies, fish and terriers, continues to reward new and returning viewers. (The film also broke through the Academy’s normal bias against comedies, winning Kevin Kline a richly deserved Best Supporting Actor for his role as Otto.)—Michael Burgin
Director: Charles Crichton
This ensemble piece shows what can happen when four skilled comic actors (John Cleese, fellow Monty Python alum Michael Palin, Kevin Kline and Jamie Lee Curtis) are given a script (written by Cleese) that puts them all on equal footing. The result is a tour-de-force of crisply delivered, character-driven comedy that, while tough on old ladies, fish and terriers, continues to reward new and returning viewers. (The film also broke through the Academy’s normal bias against comedies, winning Kevin Kline a richly deserved Best Supporting Actor for his role as Otto.)—Michael Burgin
7. The Gold Rush
Year: 1925
Director: Charlie Chaplin
Alongside City Lights, The Gold Rush remains Charlie Chaplin’s pinnacle as a filmmaker and actor. He agreed, calling it a personal favorite amongst his immense body of work. With stunning set pieces and memorable scenes, including the famous roll dance and shoe-eating dinner, the film provides one of the earliest and profoundest examples of dramedy in cinema. In quintessential Chaplin fashion, it weaves together slapstick and melancholy, generating both laughs and cries for the lonely yet hilarious Little Tramp.—David Roark
Year: 1925
Director: Charlie Chaplin
Alongside City Lights, The Gold Rush remains Charlie Chaplin’s pinnacle as a filmmaker and actor. He agreed, calling it a personal favorite amongst his immense body of work. With stunning set pieces and memorable scenes, including the famous roll dance and shoe-eating dinner, the film provides one of the earliest and profoundest examples of dramedy in cinema. In quintessential Chaplin fashion, it weaves together slapstick and melancholy, generating both laughs and cries for the lonely yet hilarious Little Tramp.—David Roark
6. Lost in Translation
Year: 2003
Director: Sofia Coppola
Fueled by Bill Murray’s impeccable performance, Sofia Coppola delivered a picture of sublime nuance for her sophomore effort. The physical and emotional unavailability of spouses, words left unspoken, life’s missing purpose, an affair devoid of sex—absence is the looming presence here, and Coppola perfectly captured the ineffable human conditions of dislocation and ennui. Lost in Translation is a testament to the power of a raised eyebrow, a gentle touch and a parting whisper.—Tim Regan-Porter
Year: 2003
Director: Sofia Coppola
Fueled by Bill Murray’s impeccable performance, Sofia Coppola delivered a picture of sublime nuance for her sophomore effort. The physical and emotional unavailability of spouses, words left unspoken, life’s missing purpose, an affair devoid of sex—absence is the looming presence here, and Coppola perfectly captured the ineffable human conditions of dislocation and ennui. Lost in Translation is a testament to the power of a raised eyebrow, a gentle touch and a parting whisper.—Tim Regan-Porter
5. Eternal Sunshine of the Spotless Mind
Year: 2004
Director: Michel Gondry
Michel Gondry’s debut feature, Human Nature, was a whimsical dud, but his follow-up suggested a mature, disciplined director with his playful side intact. Eternal Sunshine of the Spotless Mind traffics in his signature sleights of hand, which serve two touching and tragic love stories: between red-haired Kate Winslet and a supremely sad Jim Carrey, and between headstrong Kirsten Dunst and a pining Mark Ruffalo. All of their performances—including Gondry’s—stay in your memory long after the credits have rolled.—Stephen Deusner
Year: 2004
Director: Michel Gondry
Michel Gondry’s debut feature, Human Nature, was a whimsical dud, but his follow-up suggested a mature, disciplined director with his playful side intact. Eternal Sunshine of the Spotless Mind traffics in his signature sleights of hand, which serve two touching and tragic love stories: between red-haired Kate Winslet and a supremely sad Jim Carrey, and between headstrong Kirsten Dunst and a pining Mark Ruffalo. All of their performances—including Gondry’s—stay in your memory long after the credits have rolled.—Stephen Deusner
4. Planes, Trains and Automobiles
Year: 1987
Director: John Hughes
Anyone who’s ever endured holiday traffic on their way home for Thanksgiving can relate to this John Hughes tale—although hopefully you’ve never had to endure the sheer number of transportation mishaps (not to mention some accidental spooning) Steve Martin and John Candy go through.—Bonnie Stiernberg
Year: 1987
Director: John Hughes
Anyone who’s ever endured holiday traffic on their way home for Thanksgiving can relate to this John Hughes tale—although hopefully you’ve never had to endure the sheer number of transportation mishaps (not to mention some accidental spooning) Steve Martin and John Candy go through.—Bonnie Stiernberg
3. Bottle Rocket
Year: 1996
Director: Wes Anderson
Bottle Rocket introduced us both to the singular world of Wes Anderson and the unique charm of the Wilson brothers. All of his films have their critics, but we’ll go ahead and say that the director not only gave us a new kind of humor, but a new kind of joy in the stylistic quirks that have little changed seven movies later. Most adults who’ve forgotten to grow up are either repulsive in their adolescent behavior or the butt of the joke, but Dignan retains that boyish likability for all his crazy scheming.—Josh Jackson
Year: 1996
Director: Wes Anderson
Bottle Rocket introduced us both to the singular world of Wes Anderson and the unique charm of the Wilson brothers. All of his films have their critics, but we’ll go ahead and say that the director not only gave us a new kind of humor, but a new kind of joy in the stylistic quirks that have little changed seven movies later. Most adults who’ve forgotten to grow up are either repulsive in their adolescent behavior or the butt of the joke, but Dignan retains that boyish likability for all his crazy scheming.—Josh Jackson
Year: 1979
Director: Woody Allen
Gorgeously shot in black-and-white and set against a backdrop of Gershwin’s “Rhapsody in Blue,” Allen’s ode to the city that never sleeps is a profound meditation on love and loss. Allen, Diane Keaton and Michael Murphy play jaded, self-absorbed adults who over-think and over-analyze every aspect of life. Mariel Hemingway beautifully plays Tracy, the young girl in love with Allen and the only character who is honest about her feelings, the only one with the capacity to love whole-heartedly. The other characters are too delicate, too bruised, and too cynical. When Tracy tells him “you have to have a little faith in people” in the film’s touching final scene, our hearts melt a little—love may be fragile and fleeting, but it’s worth the risk every time. Romantic, witty and bittersweet, Manhattan is impeccably crafted, and stands tallest among Allen’s multitude of towering achievements.—Jeremy Medina
Director: Woody Allen
Gorgeously shot in black-and-white and set against a backdrop of Gershwin’s “Rhapsody in Blue,” Allen’s ode to the city that never sleeps is a profound meditation on love and loss. Allen, Diane Keaton and Michael Murphy play jaded, self-absorbed adults who over-think and over-analyze every aspect of life. Mariel Hemingway beautifully plays Tracy, the young girl in love with Allen and the only character who is honest about her feelings, the only one with the capacity to love whole-heartedly. The other characters are too delicate, too bruised, and too cynical. When Tracy tells him “you have to have a little faith in people” in the film’s touching final scene, our hearts melt a little—love may be fragile and fleeting, but it’s worth the risk every time. Romantic, witty and bittersweet, Manhattan is impeccably crafted, and stands tallest among Allen’s multitude of towering achievements.—Jeremy Medina
1. Raising ArizonaYear: 1987
Director: Joel Coen
Understated dramatic performances are all well and good, but it takes pinpoint control on behalf of both directors and cast to deliver the sustained overstated performances found throughout Raising Arizona. From its opening courtship sequence to the struggles of H.I. (Nicholas Cage) and Ed (Holly Hunter) to form a family by borrowing an “extra” from another to the final battle with the Lone Biker of the Apocalypse, the Coen brothers’ film remains an immensely beguiling and quotable farcical fable.—Michael Burgin
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