50 Best Comedy Movies on Netflix UK

Sit back, relax, and wait for the feels. With amazing performances from an ensemble cast, including Julianne Moore, Mark Ruffalo, and Annette Bening, as well as excellent directing; The Kids Are Alright is a highly realistic yet entertaining take on families, growing up as children, and growing as parents. Moore and Bening play a gay LA couple, whose two kids meet their biological father, a goofy, laid-back sperm donor, portrayed perfectly by Ruffalo. Nominated for four Oscars and awarded with two Golden Globes, The Kids Are Alright is an arresting, authentic, and astute indie comedy-drama, and a pleasure to watch. Director Lisa Cholodenko and her talented cast have really created something special here!

Everybody loves a good coming-of-age movie, but they have their trappings. Their youthful characters are often cartoonish, or perfect, or insanely inept. This is where The Spectacular Now achieves something that is indeed spectacular: it feels incredibly real. The film features Miles Teller (from Whiplash) as a charming, but slightly lost, heavily partying high-school senior named Sutter Keely. After waking up on a strange lawn after a long night, he is awoken by Aimee, played by Shailene Woodley, whose performance is as spectacular as the depth of this movie’s characters. What starts as a rebound fling for Keely eventually goes deeper and deeper, while his problems become more and more apparent to us, the viewers, to Aimee, and to his caring teacher, played by the incredible Andre Royo, who some of you might recognize as the iconic Bubbles from The Wire. If this premise sounds corny to you, think again, because this film has a deep respect for its characters and the journeys they must take. A sensitive drama with incredibly life-like performances.

Poignant, delightful, and simply gorgeous, Licorice Pizza just might be Paul Thomas Anderson’s best work to date. The period dramedy follows two young people, one in her 20s and one in his teens, as they strike an unlikely but lovely friendship and try to find their place in the world. They may be 10 years apart, but they’re stuck in the same swirl of rejection and confusion that trap a lot of ambitious people like them. The premise is far from original, but Alana Haim and Cooper Hoffman turn in captivating performances (made even more impressive by the fact that this is both their film debut). There is an ease and naturalism to both their chemistry and onscreen performances that’s hard not to love.

The thick and wistful patina of the ‘70s, the comedic asides, and the colorful supporting cast all also help paint an overall charming picture that shouldn’t be missed.

When two young brides are mistakenly swapped on a train, it’s a difficult situation, much more so when the brides in question are both veiled and wearing the same red bridal attire. This seemingly simple swap is the entire plot of Laapataa Ladies, but director Kiran Rao transforms this mishap into a hilarious, yet realistic, satire that challenges plenty of the norms enforced on women in the country. As Phool and Jaya switch places, the film understands where their respective mindsets come from– Phool having not learned much about the world, and Jaya having been jaded by it– but the film doesn’t stop there. It brings them to places that challenge those mindsets, and in turn, they challenge the people around them too, by actively making choices from the mindsets they had to hold to survive. Laapataa Ladies is what it says on the tin– Laapataa is the word for lost– but the sharply written characters, the witty dialogue, and the subtle social commentary make this charming love story one of a kind.

A quirky and lovely coming of age film, the Kings of Summer celebrates the beauty and madness of adolescence and the sheer joy of long summer days. The plot follows three teenage friends, who, in the ultimate act of independence, decide to spend their summer building a house in the woods and living off the land. The house soon becomes a microcosm of their relationships with each other and the world at large, prompting conflict and mirroring their own transformations as they grow. Simple yet powerful, the Kings of Summer has a lot to say.

Made on a clearly lower budget but with enthusiasm and love for the craft overflowing from every frame, Junta Yamaguchi’s River gets clean and wholesome comedy—that’s still plenty memorable—out of a terrific ensemble of actors, all of whom get to display a full range of expression for their increasingly exasperated characters. It’s smart, economical filmmaking that’s still dazzlingly put together, as each two-minute loop is done in a single unbroken shot that feels different with every reset. Yamaguchi is highly aware of how quickly this gimmick might overstay its welcome, so he allows the film’s emotional landscape to open up considerably with every cycle. As the hell of this situation starts to chip away at the characters, the film also becomes more urgent and more soulful, leading the story down unexpected paths and inviting us to think beyond the pattern it sets up for itself.

The first few minutes of Robot Dreams are so deceptively simple and pleasant that it’s hard to think of a conflict that could keep the film moving. But something does happen—life happens, which sounds annoyingly vague, but it’s true. Life happens, and the rest of the film is about how Dog and Robot survive the specific pain of living. It’s at once poignant and delightful, filled with surprising moments that shouldn’t work, but do. It feels incredibly human even though there are no people in sight. It says a lot about the crisis of loneliness and the importance of moving on even though it’s a silent movie. And then there’s that one scene that breaks the fourth wall most adorably, proving that Robot Dreams is anything but the straightforward film it seemed to be in the beginning. Consistently, however, it is a touching movie. Whether it ends up breaking or warming your heart is just something you have to look out for.

Coming of age films are a staple in cinema, but rare is a great depiction of growing up on the internet, chatting with friends, and learning about the world through just a small screen. Dìdi is one of those rare films that remembers that pivotal era, which is why it’s often likened to Bo Burnham’s Eighth Grade, but Sean Wang depicts a more angsty than anxious Asian American kid with a mother and a grandmother less able to relate to the wider Western town they live in, and with nothing he wants to do but to skate, shoot skating, and try to fit in with people he thinks are cool. It’s both funny and self-critical, as if Wang was looking back to remember the times he screwed up, but it’s also just comforting to watch him own up to who he really is, even if it doesn’t garner the exact response he’s been hoping for. It’s also precisely why Dìdi found its audience.

A period comedy set in New York in the summer of 1994, the Wackness is a coming of age story about Luke Shapiro (Joshua Peck), as he deals with family trauma, love, and economic hardship while selling pot to his strange psychologist. Rescued from a somewhat typical bildungsroman plot by sharp character acting, a firm directorial hand and an absolutely fitting soundtrack that evokes the golden age of rap music.

Adam Sandler, though currently imminently marketable, incredibly played out and boring, used to be a real actor. This is the film by which his legacy will be judged, where we see the funnyman drop the mask and actually show real feelings besides bumbling rage. Sandler’s hurt and confused performance is beautifully vulnerable and true and is complimented by P.T. Anderson’s incomparable direction (the man behind Boogie Nights and There Will Be Blood), creating a true masterpiece of American cinema. This beauty also stars Philip Seymour Hoffman and Emily Watson.