The Top 10 Comedy Flicks We’ve Reviewed… So Far

Taika Waititi’s Hunt for the Wilderpeople understands that the funniest partnerships usually begin with two people who would rather be anywhere else. Ricky Baker is a self-declared gangster with haikus, attitude and a long history of failed foster homes. Hec is a gruff bushman whose preferred conversation style is a suspicious stare. Put them together in the New Zealand wilderness and the result is part odd-couple comedy, part manhunt and all “majestical.”

Jon called the casting perfect and loved the interaction between Julian Dennison and Sam Neill. Ricky’s creative insults, Hec’s deadpan replies and a parade of colorful weirdos kept him laughing, while the themes of family, friendship and belonging gave the movie something sturdier than a collection of punchlines. A slow patch, a certain death and the uncomfortable “molestering” misunderstanding held him to 4.00.

Ken thought the comedy succeeds precisely because it never shoves the joke in your face. He praised its subtle humor, somber turns and the way Hec conveys whole emotional paragraphs without saying anything. That balance of laughter, heartbreak and hope earned 4.50.

Don landed between them at 4.25, calling it “quirky, offbeat, but exceptionally charming.” He praised Waititi’s shot choices, soundtrack, editing and top-notch cast, along with a story that finds humor inside serious emotions without making either side feel fake.

At 4.25, Wilderpeople takes the final spot because the comedy grows naturally from character. It can stage a ridiculous nationwide pursuit, then slow down long enough to make two lonely people finding a family feel completely earned.

Ghostbusters: Afterlife had the dangerous job of opening a storage unit full of childhood nostalgia without being crushed under the weight of it. Jason Reitman moves the franchise out of New York, puts the equipment in the hands of a new generation and builds the movie around a family discovering what Egon left behind.

Jon’s nostalgia meter went “through the roof.” He saw Afterlife as the direct sequel the original deserved: familiar music, needed one-liners, a fun new cast and just enough of the original team. He wanted more of the finale, but the chance to revisit this world with genuine affection earned 4.75.

Ken entered worried that the movie might not deliver. The first note of music hooked him. He called Phoebe “the crown jewel of this story” and praised the thoughtful way familiar details are peppered through a new adventure. The humor, pace and returning Ghostbusters made it feel like the kind of rich, rewarding crowd-pleaser summer movies are supposed to be. He gave 4.50.

Don respected the heart and the filmmakers’ obvious love for the property, especially compared with other legacy sequels. He liked the cast, Oklahoma setting and callbacks, but the recycled structure, uneven pacing and a finale that leaned hard on the original kept him at 3.50.

The score lands at 4.25. Afterlife may not be the pure comedy machine of the 1984 film, but its jokes work because the nostalgia is attached to grief, family and characters worth handing a proton pack.

School of Rock takes fraud, identity theft and something alarmingly close to kidnapping, plugs them into an amplifier and somehow turns the result into one of the warmest comedies of the 2000s. That miracle works because Jack Black doesn’t simply play Dewey Finn. He attacks the role like the fate of rock depends on every eyebrow raise, air-guitar solo and motivational speech.

Don gave the movie cinematic gold. The casting, soundtrack and complete beginning-to-end ride bring a smile to his face every time, and the climactic performance still puts a tear in his eye. His verdict was simple: “I watch it anytime, anywhere, any place.” That is a 5.00.

Ken loved Black’s over-the-top enthusiasm and how well the kids deliver both musically and dramatically. Dewey’s growth from lazy freeloader to someone inspired to become better—and the smaller arcs given to the students—make the Battle of the Bands feel euphoric rather than merely loud. He gave 4.25.

Jon agreed that the film rides on Black’s electric charisma, comic timing and legitimate musical chops. He also praised the kids for performing like mini rock stars. The repeated viewings feel a little less fresh to him, however, and a few dragging sections plus that magically forgiving group of parents brought his score to 3.75.

The average is 4.33. School of Rock became a comedy classic because the music is real, the kids matter and Jack Black turns a deeply irresponsible plan into two hours of pure, infectious commitment.

Ferris Bueller’s Day Off made skipping school feel like a heroic calling, Chicago feel like an amusement park and talking directly to the audience feel so natural that countless movies copied it. John Hughes built a teenage fantasy around Ferris, but the movie lasts because Cameron’s emotional escape gives the perfect day a pulse.

Ken grew up with the film and called it an intimate part of him. He loved the characters, Jeffrey Jones’s perfectly humiliated Rooney, the music cuts and the relaxed bond among Ferris, Sloane and Cameron. The movie leaves him “feeling so fun and happy inside,” which pushed it to a perfect 5.00.

Jon delivered his verdict in rhyme, calling it “a classic flick” and “a ton of fun.” For him, it stands among the best 1980s comedies, powered by a plan so slick and a lead character too confident to yield. He gave 4.25—no more, no less.

Don also grew up loving the movie’s question-authority attitude. He praised Hughes, the cast and the nostalgia but found it slightly long and not quite an automatic stop-everything rewatch. His 3.75 is affectionate resistance from the one Guy not completely hypnotized by Ferris’s charm.

At 4.33, Ferris remains a comedy classic because it is both a wish-fulfillment joyride and a reminder to look around once in a while. Just don’t borrow the Ferrari.

Scott Pilgrim vs. the World is what happens when a romantic comedy eats a graphic novel, grabs a bass guitar and starts thinking in arcade sound effects. Edgar Wright fills the screen with words, meters, coins, smash cuts and visual punchlines, yet the movie’s emotional mission is surprisingly simple: Scott needs to stop treating other people like supporting characters in his game.

Jon called it “a love letter to all nerds, gamers, manga fans” and anyone who enjoys a movie that refuses to take itself too seriously. He praised the cast, geek references and the way live action, animation, comic-book language and video-game logic combine into something that should not work—but absolutely does. That cult-classic blend earned 4.75.

Don loved the dialogue, witty banter, soundtrack, effects and seamless transitions. He especially enjoyed how the movie turns left into full video-game mode while still fitting its world. A slightly heavy runtime kept a near-perfect experience at 4.50.

Ken admired the frenetic energy, colorful visual pops, likable characters and rock music. The repeated procession of evil exes sometimes made him feel like he was checking names off a list, though, leaving him at 3.75.

The 4.33 average proves that a comedy can become a classic by creating its own visual grammar. Plenty of movies reference games and comics. Scott Pilgrim moves, sounds and jokes like one.

Hot Fuzz is a tiny English village comedy directed like Michael Bay was promised unlimited explosions for good behavior. Edgar Wright and Simon Pegg begin with meticulous police procedure, layer in cozy murder mystery, then let every ridiculous action-movie setup detonate in the final act—for the greater good.

Ken praised the film’s cadence, panning shots, creative transitions and rich supporting characters. Timothy Dalton makes villainy look delighted with itself, while Pegg and Frost turn a mismatched partnership into the heart of the movie. Ken’s admiration for Wright’s filmmaking earned 4.50.

Jon expected the story to be slow and predictable. Instead, the subtle jokes, background details, John Woo references and carefully placed callbacks kept throwing curveballs. He never looked at his watch because he was too busy trying to catch what came next. The discovery factor—and the urge to rewatch—pushed him to 4.25.

Don loved the writing, performances, shooting, editing and music from beginning to end. His only complaint was that the movie runs five or ten minutes too long, which is apparently enough to deny cinematic gold but not enough to stop the gushing. He also gave 4.25.

Hot Fuzz averages 4.33 and wins its tie-group placement by making every setup count. The more action movies you have seen and the more background jokes you notice, the funnier Sandford becomes. Yarp.

Shaun of the Dead did not merely add zombies to a romantic comedy. It made Shaun’s emotional sleepwalking part of the apocalypse, then used every pint, argument, throwaway line and trip to the shop as setup for something funny—or painful—later.

Don called the writing smart and deliberate, the soundtrack on point, the cast perfect and the pacing brilliant. More importantly, Edgar Wright gives a spoof what many comedies never earn: heart. The losses still make Don tear up, which is why his gut went all the way to cinematic gold and 5.00.

Ken loved the callbacks, smash cuts and reversal at the center of the character: Shaun begins the movie as zombie'like and finally wakes up when the real zombies arrive. The cast feels fully known rather than disposable, and the movie still seems timeless two decades later. He gave 4.50.

Jon praised Simon Pegg’s endearing slacker, the sharp wit, visual gags and supporting cast. Ed occasionally crossed from funny into annoying for him, and a few pacing issues dropped the score to 4.00—even after the conversation convinced him the movie is better made than Zombieland.

At 4.50, Shaun became a classic because the horror, comedy and emotion never wait politely for separate turns. They happen together, usually while Queen plays and somebody argues about which records are safe to throw.

Tropic Thunder aims its satire at actors, directors, producers, agents, awards campaigns, war-movie clichés and an industry capable of mistaking ego for courage. Ben Stiller’s best decision is that the production looks enormous even while the characters remain gloriously small.

Don has always loved the movie and spent the episode trying to find a reason not to award a five. The conversation failed to provide one. The absurdity, epic cast, engaged story and perfect needle drops made Tropic Thunder an easy cinematic-gold 5.00.

Jon said Stiller “nails it as a director,” delivering a wild, self-aware jab at the whole Hollywood machine. Stiller, Robert Downey Jr. and Jack Black turn their performances up to eleven, while Tom Cruise’s Les Grossman steals the movie with oversized hands and weaponized profanity. Jon acknowledged the cringe, overplayed gags and material that demands context, but the sharp satire and start-to-finish hilarity earned 4.75.

Ken found it every bit as delightful as he remembered. Downey, Black and Stiller all shine, Cruise owns every second he appears, and Matthew McConaughey somehow became Ken’s favorite character. It is not quite perfect, but the writing and needle drops made 4.25 feel easy.

With a 4.67 average, Tropic Thunder is the highest-rated straight R-rated comedy on this list. It became a classic by being as committed, excessive and self-important as the movies, and movie stars, it was mocking.

Elf begins with a performance that should become unbearable in ten minutes. Instead, Will Ferrell’s absolute commitment to Buddy’s innocence keeps winning you over until spaghetti needs syrup and every escalator looks like a dangerous adventure.

Don called the movie perfectly cast, the soundtrack uplifting and Jon Favreau’s direction the point where “everything clicked, everything worked.” It grows funnier and warmer with repeat viewings until it becomes part of the annual holiday rotation. Only its December-specific magic kept him from a five.

Jon called Elf “a magical movie that creates a humor-filled holiday classic.” Ferrell’s enthusiasm, James Caan’s perfect contrast and the nostalgic Rankin/Bass flavor keep making people smile. The occasional slide into broad slapstick did not stop Jon—a Jewish reviewer—from returning every Christmas. He gave 4.75.

Ken said his family quotes Elf all year. Buddy’s complete belief that everything is good disarms Walter, Jovie and the audience, while the carefully chosen music fills the movie with Christmas wonder. Ken called Favreau’s work “a Christmas masterpiece” and another easy 4.75.

Three identical scores give Elf a 4.75 average and the most peaceful agreement anywhere on this list. Its refusal to grow cynical is the joke, the heart and the reason a modern Christmas comedy became a genuine seasonal classic.

Ghostbusters is a workplace comedy where the workplace happens to contain nuclear accelerators, ancient gods and a receptionist who has already had enough. Ivan Reitman’s masterstroke is letting the impossible machinery and supernatural threat play completely straight while Bill Murray behaves like he wandered in from a different, much more sarcastic movie.

Jon gave his first perfect score to a comedy that remains funny no matter how many times he watches it. Murray, Dan Aykroyd, Harold Ramis, Ernie Hudson and Rick Moranis form a combination he called “just amazing,” and he could not find a single scene he wished had been handled differently. Easily a 5.00.

Don put it among the funniest films ever made. The jokes he has heard a thousand times still land, from the library to the shock experiment, and if Ghostbusters appears while he is flipping channels, he stops. He held at 4.75 only because a few other films might still win the head-to-head rewatch.

Ken also gave 4.75. He adores the countless lines and the distinct delivery every character brings. A few small issues, the abrupt ending, Venkman’s behavior and that mysteriously convenient Thorazine, kept it below his rare perfect score, but never diminish the pleasure of revisiting its best moments.

With a 4.83 average, Ghostbusters is our top-rated comedy. It became a classic because it is simultaneously a supernatural adventure, startup story, effects showcase and endlessly quotable hangout movie. It built an entire pop-culture empire, and still feels like four funny people trying to keep a small business from crossing the streams.