Dr. Strangelove
Directed by Stanley Kubrick
1964
Nuclear annihilation has never been this funny, and never will be again: Kubrick worked out that the strategy was already absurd, and simply let his generals talk.
★ 9.6
The Movies canon
Sourced and screened.
Every film chosen by hand and annotated for why it matters.
Browse all 731 films or filter by genre, director, place, and year.
Browse all 731 films or filter by genre, director, place, and year.
Pulp Fiction
Directed by Quentin Tarantino
1994
Young filmmakers were allowed to sound different after this one: Tarantino let two hitmen argue about hamburgers for ten minutes, and an entire decade of American cinema followed.
★ 9.5
Some Like it Hot
Directed by Billy Wilder
1959
American comedy has never been funnier, and the Legion of Decency was appalled: Wilder ran a single disguise for two hours without ever letting the joke thin out.
★ 9.4
City Lights
Directed by Charlie Chaplin
1931
Chaplin's own favorite of his films, and the one people cry at: he refused to make it a talkie, then built ninety minutes toward a final thirty seconds.
★ 9.3
Annie Hall
Directed by Woody Allen
1977
The romantic comedy has never recovered from it: Allen talks to the camera, walks into his own memories, drops subtitles over small talk, and breaks every rule the form had.
★ 8.8
Back to the Future
Directed by Robert Zemeckis
1985
Screenwriting teachers use it as the worked example: every joke and every prop planted early comes back later, and the whole machine runs without a single wasted second.
★ 8.8
Modern Times
Directed by Charlie Chaplin
1936
Chaplin's farewell to silence, made nine years into the sound era out of pure stubbornness: the factory gears swallow him, and he answers the talkies entirely on his own terms.
★ 8.7
Toy Story
Directed by John Lasseter
1995
First feature film animated entirely on computers, and the start of Pixar's extraordinary run: it holds up because underneath the toys it is a sharp story about jealousy.
★ 8.7
The General
Directed by Buster Keaton and Clyde Bruckman
1926
Keaton did every stunt himself and dropped a real locomotive through a burning bridge: it flopped, cost him his independence within two years, and is now considered the great silent comedy.
★ 8.6
The Graduate
Directed by Mike Nichols
1967
A generation was told their parents were wrong and believed it: Nichols made aimlessness look cinematic, and the soundtrack put Simon and Garfunkel into every house in America.
★ 8.5
Groundhog Day
Directed by Harold Ramis
1993
The title became a phrase people use without knowing the film: a comedy about repeating one day turned into the most quietly serious argument about how to live.
★ 8.2
Do the Right Thing
Directed by Spike Lee
1989
No American film has been braver about refusing to resolve: one Brooklyn block on the hottest day of the year, and Lee will not tell you who was right.
★ 8.2
The Big Lebowski
Directed by Coen Brothers
1998
It underwhelmed in cinemas and then grew a festival, a religion and a vocabulary: the Coens built a Chandler plot around a man whose only ambition is getting his rug replaced.
★ 8.1
Monty Python and the Holy Grail
Directed by Terry Gilliam and Terry Jones
1975 · United Kingdom
No comedy has been quoted more relentlessly for fifty years: the Pythons could not afford horses, banged coconuts instead, and turned the budget problem into the joke.
★ 7.9
Airplane!
Directed by David Zucker and Jim Abrahams
1980
It fires jokes at a rate almost nothing before it attempted and lands most of them: the trick was casting dramatic actors and telling them to play everything straight.
★ 7.8
Finding Nemo
Directed by Andrew Stanton and Lee Unkrich
2003
It became the highest grossing animated release to that point and pushed what animation could render: an ocean of light and current, and a frightened father crossing it.
★ 7.8
The Gold Rush
Directed by Charlie Chaplin
1925
Chaplin said this was the film he wanted to be remembered for: the boiled boot eaten like a banquet, the dancing dinner rolls, and a cabin on a cliff edge.
★ 7.7
It Happened One Night
Directed by Frank Capra
1934
It helped launch the screwball comedy and left fingerprints on every romance that followed: a runaway heiress, a broke reporter, a night bus, and a blanket hung between two beds.
★ 7.7
Monty Python's Life of Brian
Directed by Terry Jones
1979 · United Kingdom
Councils across Britain banned it and Norway would not show it at all: the Pythons went after zealotry rather than faith, which is exactly why it still works.
★ 7.7
Young Frankenstein
Directed by Mel Brooks
1974
Brooks has called it his best film and he shot it using the original 1931 laboratory equipment: black and white, played completely straight, and funnier for the discipline.
★ 7.6
The Truman Show
Directed by Peter Weir
1998
Psychiatrists named a delusion after it: a man begins to suspect his whole town is a set and everyone in his life is paid, and 1998 had no idea.
★ 7.6
Inside Llewyn Davis
Directed by Coen Brothers
2013
The Coens made the saddest film about failure that anyone has managed to make funny: a folk singer plays beautifully, sleeps on couches, and gets absolutely nowhere at all.
★ 7.5
The Princess Bride
Directed by Rob Reiner
1987
It barely registered in cinemas and built its whole following on video: pirates, giants, a six-fingered man, and a grandfather reading to a boy who does not want the story.
★ 7.5
Toy Story 3
Directed by Lee Unkrich
2010
Pixar took a third film in a series somewhere nobody expected it to go: the toys end up far from a toy box, and the last act is genuinely harrowing.
★ 7.4
Brazil
Directed by Terry Gilliam
1985
The bleakest comedy ever made about paperwork: Gilliam imagined a state that tortures you politely and misfiles the forms afterward, and had to fight his own studio to release it.
★ 7.4
This is Spinal Tap
Directed by Rob Reiner
1984
Real musicians find it painful to watch because everything in it has happened to them: Reiner and his cast improvised almost the entire film from a bare outline.
★ 7.4
Ratatouille
Directed by Brad Bird and Jan Pinkava
2007
Almost nothing else takes both cooking and criticism this seriously: a rat with a palate steers a hapless human around a Paris kitchen, and the food looks extraordinary.
★ 7.3
When Harry Met Sally
Directed by Rob Reiner
1989
Every romantic comedy since has been trying to write this conversation: two people argue for twelve years about whether men and women can be friends, and Ephron's dialogue wins.
★ 7.2
Tootsie
Directed by Sydney Pollack
1982
Hoffman said the part permanently changed how he saw women, and what he learned is worked out here as farce: an unemployable actor becomes a soap opera star.
★ 7.2
Forrest Gump
Directed by Robert Zemeckis
1994
People still argue about whether it is sentimental or sly, and both readings hold: a simple man walks through forty years of American history without ever noticing.
★ 7.2
Duck Soup
Directed by Leo McCarey
1933
The Marx Brothers at their fastest and most anarchic, and they left Paramount soon after it underperformed: the mirror sequence has been stolen by everybody in comedy since.
★ 7.2
Play Time
Directed by Jacques Tati
1967 · France
Tati built a working modern city on the edge of Paris and it bankrupted him: there is no plot, no close-up, and something funny in every corner of the frame.
★ 7.1
Ghostbusters
Directed by Ivan Reitman
1984
It should not work at all and it works completely: three academics start a small business catching ghosts in New York, and Murray ad-libs freely on top of the script.
★ 7.1
Bringing Up Baby
Directed by Howard Hawks
1938
Nobody talks faster than this: Hawks overlapped every line until the dialogue becomes a physical event, and it did badly enough that exhibitors called Hepburn box office poison.
★ 7.1
Toy Story 2
Directed by John Lasseter and Ash Brannon
1999
Pixar scrapped the whole film and rebuilt it in nine months, and it came out better than expected: the song about being outgrown is what people remember.
★ 7.0
Amelie
Directed by Jean-Pierre Jeunet
2001 · France
The most exported French film of its generation: Jeunet saturated Paris into green and gold and sent a shy waitress out to quietly rearrange other people's lives.
★ 7.0
The Breakfast Club
Directed by John Hughes
1985
Five teenagers in one room for a Saturday detention, and every teen film since has been rearranging the same five: Hughes let them talk instead of doing anything.
★ 6.9
Blazing Saddles
Directed by Mel Brooks
1974
Brooks spent years saying it could not be made today and has since changed his mind: a Black sheriff arrives in a frontier town built on racism, and everybody gets hit.
★ 6.9
The King of Comedy
Directed by Martin Scorsese
1983
It flopped and now looks like prophecy: De Niro plays a man who believes fame is owed to him, and Scorsese refuses to let you laugh comfortably.
★ 6.9
Raising Arizona
Directed by Coen Brothers
1987
The Coens' funniest film and by some way their fastest: a childless couple steal one of a furniture magnate's quintuplets, and the chase never once slows down afterward.
★ 6.9
MASH
Directed by Robert Altman
1970
Altman's overlapping dialogue turns up fully formed: army surgeons in Korea behave appallingly in order to stay sane, and the film was really about Vietnam all along.
★ 6.8
Ferris Bueller's Day Off
Directed by John Hughes
1986
Truancy has never looked this appealing: Ferris talks straight to the audience, takes a Ferrari and a parade, and the whole film is completely on his side.
★ 6.8
O Brother, Where Art Thou?
Directed by Coen Brothers
2000
Homer's Odyssey rerouted through Depression-era Mississippi: the soundtrack of gospel and bluegrass sold eight million copies and sent a mass audience back to music first recorded in the 1920s.
★ 6.8
Kind Hearts and Coronets
Directed by Robert Hamer
1949 · United Kingdom
Alec Guinness plays eight members of the same family, including one of the women: the blackest comedy the British ever made, narrated in perfect drawing-room manners by a man counting off his relatives.
★ 6.8
Monsters, Inc.
Directed by Pete Docter and Lee Unkrich
2001
Pixar built an entire energy economy out of children's nightmares: the joke is that the monsters are salaried professionals, and the film turns on one of them being frightened of a toddler.
★ 6.7
Shaun of the Dead
Directed by Edgar Wright
2004 · United Kingdom
A zombie comedy that works as an actual zombie film: Wright plants every joke twice, so the second half pays off setups you laughed at an hour earlier without noticing they were setups.
★ 6.7
Rushmore
Directed by Wes Anderson
1998
Wes Anderson's style arrives fully formed here, and so does the melancholy Bill Murray everyone loves: a prep-school boy who runs every club and fails every class declares war on a millionaire.
★ 6.7
The Royal Tenenbaums
Directed by Wes Anderson
2001
The film where Wes Anderson's dollhouse precision finally serves real grief: Gene Hackman plays a father who lies his way back into a house full of ruined prodigies.
★ 6.6
The Philadelphia Story
Directed by George Cukor
1940
Katharine Hepburn was labeled box-office poison and controlled the rights to her comeback vehicle: she picked the director and approved the cast, then let Cary Grant and James Stewart crash her wedding.
★ 6.6
Roman Holiday
Directed by William Wyler
1953
Audrey Hepburn became a star overnight and Dalton Trumbo wrote the script while blacklisted: a princess slips her handlers for one unscheduled day in Rome, with a reporter who knows who she is.
★ 6.6
Sullivan's Travels
Directed by Preston Sturges
1942
Preston Sturges aimed the sharpest dialogue of his career at Hollywood itself: a director of hit comedies decides to make something serious about poverty, and goes looking for it in person.
★ 6.5
Hot Fuzz
Directed by Edgar Wright
2007 · United Kingdom
Wright's parody is better constructed than most of the films it mocks: a London supercop is exiled to a picture-perfect village, and the final act is staged better than the real thing.
★ 6.4
Election
Directed by Alexander Payne
1999
Reese Witherspoon has never been better used: a high-school student council election becomes a study of ambition and resentment, and Payne refuses to let a single character off the hook.
★ 6.3
Borat
Directed by Larry Charles
2006
Baron Cohen stayed in character in front of real Americans who had no idea, and they told him what they actually thought: the funniest film of its decade and the most uncomfortable.
★ 6.3
Clueless
Directed by Amy Heckerling
1995
Amy Heckerling relocated Jane Austen's Emma to Beverly Hills without losing a thing: she collected the vocabulary from real teenagers, the film sent it back amplified, and the heroine is never the joke.
★ 6.3
Mean Girls
Directed by Mark Waters
2004
Tina Fey adapted a parenting book about teenage girls into the most quoted comedy of its decade: the anthropology is accurate, and the cruelty is presented as a system rather than a person.
★ 6.3
Animal House
Directed by John Landis
1978
Made for three million and returned more than a hundred: every campus comedy since is a footnote to it, and John Belushi carries whole scenes with almost no dialogue.
★ 6.2
Planes, Trains and Automobiles
Directed by John Hughes
1987
John Hughes wrote it in three days: two men try to get home for Thanksgiving, and John Candy turns what starts as a comic irritant into the most devastating performance of his career.
★ 6.2
The Producers
Directed by Mel Brooks
1968
A comedy built around a Nazi musical, released twenty-three years after the war: Brooks designed Springtime for Hitler to be unwatchable, and it remains the funniest sequence of the decade.
★ 6.2
A Fish Called Wanda
Directed by Charles Crichton
1988
A Danish audiologist reportedly died laughing during a screening: Charles Crichton was seventy-seven and made the fastest farce of the decade, with four thieves who all intend to betray the others.
★ 6.2
The Kid
Directed by Charlie Chaplin
1921
Comedy and heartbreak arrive in the same shot, which almost nobody has managed since: Chaplin's first feature has a tramp raising an abandoned boy, and Jackie Coogan was five years old.
★ 6.2
A Night at the Opera
Directed by Sam Wood
1935
The stateroom scene is the most crowded two minutes in comedy: MGM insisted the Marx Brothers carry a love plot, and they demolished it from the inside anyway.
★ 6.2
The Blues Brothers
Directed by John Landis
1980
It held the record for cars destroyed on film and works as a music documentary besides: Aretha Franklin, Ray Charles, James Brown and Cab Calloway all get a full number.
★ 6.1
Nebraska
Directed by Alexander Payne
2013
Payne wanted monochrome and the studio fought him over it: an old man believes a sweepstakes letter and sets off walking toward Nebraska, and his son drives him rather than argue.
★ 6.0
Superbad
Directed by Greg Mottola
2007
Seth Rogen and Evan Goldberg began writing it at thirteen and it shows: one night, a catastrophic fake ID, and a friendship neither boy can say anything about directly.
★ 6.0
The Naked Gun
Directed by David Zucker
1988
The Zucker team moved their television cop parody to the big screen and improved it: Leslie Nielsen anchors a squad room where three more gags are running behind every line.
★ 6.0
Fast Times at Ridgemont High
Directed by Amy Heckerling
1982
Cameron Crowe enrolled in a California high school undercover for a year and wrote down what he heard: the result launched half a decade of careers and still sounds like actual teenagers.
★ 5.9
School of Rock
Directed by Richard Linklater
2003
Linklater cast children who could really play and let them: Jack Black gives the performance his whole career was building toward, teaching a class of ten-year-olds the history of rock.
★ 5.9
Withnail and I
Directed by Bruce Robinson
1987 · United Kingdom
Richard E. Grant does not drink and had to be taught to be convincing: two unemployed actors leave London for a cottage in 1969 with no money, no food and no plan whatsoever.
★ 5.8
Best in Show
Directed by Christopher Guest
2000
The mockumentary found its permanent subject here, the American hobbyist: five sets of owners take their dogs to a national championship, and each of them reveals far more than intended.
★ 5.7
Big
Directed by Penny Marshall
1988
Penny Marshall became the first woman to direct a film that made a hundred million dollars: Tom Hanks plays a thirteen-year-old in an adult body and never once winks at the audience.
★ 5.6
Trading Places
Directed by John Landis
1983
A regulation passed in 2010 is nicknamed after this film: two rich brothers bet a dollar on whether a broker and a hustler can swap lives, and Eddie Murphy runs away with it.
★ 5.4
Office Space
Directed by Mike Judge
1999
It died in theaters and then took over every office in America on video: Mike Judge got the cubicle exactly right, down to the stapler, the printer and the phrase about the memo.
★ 5.3
Bridesmaids
Directed by Paul Feig
2011
Studios genuinely believed women would not carry a raunchy comedy, and this ended the argument in one weekend: Kristen Wiig and Annie Mumolo wrote it, and the real romance is between friends.
★ 5.3
South Park: Bigger, Longer, and Uncut
Directed by Trey Parker
1999
It is a musical written by people who love musicals: Trey Parker and the composer Marc Shaiman took an Oscar nomination for a song nobody could print, and the censorship satire is exact.
★ 5.3
Beetlejuice
Directed by Tim Burton
1988
Michael Keaton appears for roughly seventeen minutes and the film belongs entirely to him: Tim Burton makes the afterlife a bureaucracy with waiting rooms, and the possessed dinner party is the peak.
★ 5.2
Caddyshack
Directed by Harold Ramis
1980
Bill Murray improvised nearly all of his part and the gopher was added after shooting finished: a country club comedy with no functioning plot and absolutely no need for one.
★ 5.1
Coming to America
Directed by John Landis
1988
Eddie Murphy and Arsenio Hall play four characters each under Rick Baker's makeup: an African prince goes to Queens specifically to be treated like nobody, and the barbershop scenes steal it.
★ 5.0
Anchorman
Directed by Adam McKay
2004
They shot so many alternate takes that the discarded material was assembled into a second feature: Will Ferrell and Adam McKay built a 1970s newsroom out of confident men saying stupid things.
★ 5.0
Swing Time
Directed by George Stevens
1936
Astaire and Rogers never danced better than in the last number here, which they shot until her feet bled: the plot is nonsense and the dancing is the argument for the whole genre.
★ 5.0