NEW YORK (AP) — The last decade has not been good for big-screen comedies. Hollywood studios nearly stopped making them. Horror became the in vogue genre. Laughs were out. Good comedies have kept being made, of course — it's just taken a little more effort to find them.
This month marks the 10th anniversary of “The Nice Guys,” Shane Black's 2016 crime caper with Ryan Gosling and Russell Crowe. No, it's not exactly the 50th anniversary of “Jaws.” But
for a movie era where comedies went out of style, it's a moment worth marking.
In the past decade, comedies have largely become the stuff of cult: little seen at release but rediscovered on streaming or elsewhere. “The Nice Guys” flopped at the box office, but its afterlife is long.
So here are our picks for the best of the last 10 years, post-"Nice Guys.” We're leaving out the darker satires (“Parasite”), the acerbic dramas (“The Holdovers”) and the sequels that exist in their own glorious category entirely (“Paddington 2").
As much as “Groundhog Day” codified the time-loop comedy, Max Barbakow's clever riff on a familiar concept found new comic life in a single day endlessly relived. You want Andy Samberg and Cristin Milioti to stay stuck in Palm Springs forever. Having J.K. Simmons, who so drolly put the final touches on “Burn After Reading,” around in any comedy helps, too.
“One of Them Days” also lives in the shadow of an earlier comedy: “Friday.” It similarly has a hangout, day-in-the-life-of-Los-Angeles feel, albeit amped up a bit. Keke Palmer carries it.
Few movies of the last decade have been stolen by a performer more outright than “Game Night.” Jesse Plemons and the debatable profitability for FritoLay was enough to turn “Game Night” into a modern classic. But there are funny people up and down this justifiably adored comedy, with Jason Bateman, Rachel McAdams and Sharon Horgan.
It was a brilliant stroke of writer-director Kelly Fremon Craig and producer James L. Brooks to cast Hailee Steinfeld in this terrific coming-of-age comedy. As acclaimed as Steinfeld has been more recently, in “Sinners” and more, her performance as a teenager in “The Edge of Seventeen” is still her at her best — especially when paired with Woody Harrelson, as an unorthodox teacher.
Greg Mottola's revival of Fletch, with Jon Hamm, was criminally underseen. It fell victim to the pandemic and a few other factors. But “Confess, Fletch” might have been the most perfectly suited vehicle for Hamm. Maybe the original “Fletch” films with Chevy Chase were too iconic to mess with. But “Confess, Fletch” is worth catching up to.
Armando Iannucci is better known for his Washington, D.C. farce “Veep” and his British government comedy “The Thick of It.” But he's just as sharp in Stalinist Russia. It's almost hard to believe he managed to get made a satire about political struggle in the wake of Josef Stalin's death in 1953. I guess either the prospect of Steve Buscemi playing Nikita Khrushchev is enticing to you, or nyet.
High school has always been among the most fertile grounds for movie comedies, and I'd say Greta Gerwig's semi-autobiographical, Sacramento-set comedy has been the best and most perceptive of the last decade. Even though Timothée Chalamet and Lucas Hedges are good in this, the best moments for Lady Bird (Saoirse Ronan) come with her parents (Laurie Metcalf and Tracy Letts).
“Halle Berry!” All of the “Knives Out” movies are funny but the second of Rian Johnson's whodunit series is the most hysterical of the bunch. Daniel Craig pushes Benoit Blanc to more cartoonish heights here, and Edward Norton's word-salad tech bro is the detective's most comic foil.
Anyone who thought Kristen Wiig and Annie Mumolo's follow-up to “Bridesmaids” was a disappointment was sorely mistaken. This is less a movie about two Midwestern women traveling to Florida than a delirious fever dream about two Midwestern women traveling to Florida.
More than $1 billion in box office and a boatload of Oscar nominations and I still kind of think “Barbie” is underrated. I mean, I can no longer talk to my daughters straight-faced about “The Godfather.” But that's a small price to pay for one of the giddiest comedies of the century. I only wish Hollywood saw it less as a success of IP usage than the possibilities of a poignant and imaginative laugh fest.
Honorable mentions: “Fall Guy,” “Logan Lucky,” “Licorice Pizza,” “Booksmart,” “Borat Subsequent Movie Film,” “Popstar: Never Stop Never Stopping,” “Hail, Caesar,” “Dolemite Is My Name,” “Bottoms,” “Blockers”
