The 70 Best Indie Comedy Movies

A simple movie about a Scottish country singer with a dream to go to Nashville, U.S.A and reach stardom. It starts with her leaving prison to return to her mom’s house, where her kid was being raised in her absence. Heavy stuff, but this girl is determined to let nothing get in the way of realizing her dreams. Will she make it? At what cost? Wild Rose answers those questions with a warm script that’s designed to make you feel good without completely misleading you. Think of it as a more grounded A Star is Born.

Richard Linklater’s spiritual successor to Dazed and Confused invites you back to 1980 with a group of college freshmen discovering and navigating their first taste of young adulthood. Linklater is best known for balancing authentic dialogue and earnest performances, both of which shine in this movie. Notable performances are given by all in this ensemble cast, whose chemistry is electric and infectiously light-hearted. Everybody Wants Some!! is as fun, loud, and wild as any good night you don’t want to forget.

In The Kid Detective, Adam Brody stars as Abe Applebaum, a once-beloved child prodigy turned pathetic P.I. stuck in the glory days of his past. At 32 years old, he’s still solving petty mysteries and coasting on his parents’ money, but things start to change when he is finally dealt with a real, adult case: a murder that confounds even the local police. As Abe uncovers more details about the case, he also unwittingly finds a connection to his traumatic past and begins a long-overdue coming-of-age journey. 

Released during the first year of the pandemic, The Kid Detective understandably flew under the radar when it first came out, garnering sufficient critical praise but not enough fanfare. It will no doubt find a second life among film lovers, though; it’s too smart and riveting to go unnoticed. Most impressive is how director Evan Morgan, in his feature debut, deftly balances multiple genres in a movie that often feels as if Wes Anderson’s The Royal Tenenbaums, Roman Polanski’s Chinatown, and modern stoner humor were somehow rolled into one. The gags consistently amuse, the drawn-out mysteries pay off, and the human element persists throughout. Adam Brody, himself a kid celebrity back in the day, expertly carries this delightful and sobering film. 

Best friends Miles and Jack are off to wine country to celebrate Jack’s last week of freedom before he gets married. They drop white lies about themselves, with Miles pretending to be a successful writer and Jack not mentioning his impending wedding, and soon meet two beautiful women whom they spend the rest of their stay with. What sounds like a dreamy bachelor’s celebration, however, soon unravels into a messy tangle of tall tales. Miles and Jack contemplate their situation in smart, sad, and silly turns, delivering excellent performances and an overall hard-hitting road movie. 

Before “burnout,” “bullshit jobs,” and “quiet quitting” became part of our everyday lexicon, there was a film in the ‘90s that prophesied the rise of these workplace problems. Office Space follows three co-workers who, having had enough of their dreary low-paying jobs, fight back against their company via an embezzlement scheme. 

Office Space makes the most out of its indie budget as it mostly takes place in the cramped quarters of a company, effectively bottling us into the cubicled windowless world of the characters. But the real beauty of the film is in the details, from its quick zingers and thoughtful takes on the essence of work down to its elaborate “planning to plan” scheme in the background and the employees’ forced politeness singing happy birthday to their boss. Modern viewers will notice that Office Space sits right in between the dystopian thriller Severance and the beloved sitcom The Office—a dark comedy that highlights the necessity of humanity in everyday work. 

There’s an elephant lurking in the room from the outset of Biosphere, in which two men are the last survivors of an apocalypse: how will humanity live on? Best friends Billy (Mark Duplass) and Ray (Sterling K. Brown) have only survived thanks to the ingenuity of Ray, who built the glass dome in which they live, insulated from whatever it is that’s keeping the sky perpetually black outside. But the dome’s protective glass increasingly needs patching up, and their last female fish (responsible for the continuation of their food supplies) has just died, setting their clocks ticking.

What happens next — to the remaining male fish and humans — is an astonishing evolution that speaks to the strangeness of nature, which will break its most rigid laws in pursuit of its ultimate goal: furthering the species. Biosphere undergoes a similar metamorphosis: while its zany twist (which we won’t spoil) seems to direct it towards gross-out bro-comedy territory, it transforms, surprisingly, into something more profoundly philosophical. Like the dome, Biosphere’s structure isn’t as solid as it could be — it often meanders — but, with its thoughtful meditations on gender, sexuality, and evolution in all its forms, it’s easy to forgive this quirky indie gem that flaw.

Based on the comic book by Daniel Clowes, Ghost World is a dark comedy that follows the exploits of teenage outcasts Enid and Rebecca (Thora Birch and Scarlett Johansson) as they navigate the many complexities of burgeoning adulthood. Central to the story is the unlikely friendship that Enid strikes up with a lonesome older man (played by Steve Buscemi), a curious relationship that drifts through various humorous and melancholy situations. It’s an original and often poignant look at alienation and identity, with Birch delivering a wonderfully deadpan and often hilarious performance, despite her entirely pessimistic attitude. It’s the type of film that’s just right when you’re in the mood for something just a little bit different.

The entirety of Pieces of April takes place on Thanksgiving Day, a busy holiday meant to bring loved ones together. Sure enough, April, the eldest Burns daughter, takes great pains to prepare a nice dinner for her visiting family. But we soon learn that she is motivated less by excitement than by dread: she’s long been estranged, disowned even, by her uptight mother, Joy, who is only agreeing to come because she’s sick with cancer. April seems to be on a reluctant mission to fix their fraught relationship, but pesky (albeit funny) mishaps, both on her and Joy’s end, keep getting in the way.

Shot digitally and very closely with hand-held cameras, Pieces of April looks as intimate as it feels. It’s a snapshot of an era and of a particular family dynamic, one that relatably relies on both love and scorn to keep going. It’s an excellent, honest, and underrated gem of a movie.

This is a revelation of a movie for its simplicity in handling a pretty serious and dark subject. It’s the story of a generally immature and newly unemployed stand-up comic in New York and her unplanned pregnancy with a man that was supposed to be a fling, and it’s surprisingly funny and yet rather touching. I can’t think of many actresses who would’ve fit the bill quite like Jenny Slate. Not only is she hilarious, but her treatment of a generally sensitive issue from the honest, crass point of view of a down-on-life, New York-er leaves you drowning in empathy for her. I recommend this for anyone looking to cuddle up, have a few little clever laughs and feel all tingly in the chest-al area.

Watch this if you like weird movies. And don’t be fooled by the first half, which serves just to set Jesse Eisenberg’s character and the monotone life he leads. It’s the calm before the storm, during which that character is attacked by a violent gang and decides to take self-defense classes in an unusual club. This is a movie about modern manhood and how it can lead to some pretty strange situations. Great performance from Eisenberg as usual.