The 10 Best Comedy Movies of 2025, Ranked

From a Wes Anderson caper to a McDonald's-robbing con man played completely straight, 2025 was a strong year for comedy that didn't need to be loud to be funny.

Comedy had a genuinely good year in 2025, and not just in the multiplex-friendly, trailer-ready sense. The best of this year's crop leaned into discomfort as often as slapstick — several of the films below are just as accurately described as dark comedies or dramedies, and that's exactly why they hold up. Here are the ten comedies from 2025 worth going back to, ranked from great to best.

**10. Nonnas.** Vince Vaughn plays a widower who sinks his savings into a restaurant staffed entirely by real Italian grandmothers cooking from memory rather than recipe cards. It's a soft, crowd-pleasing premise that could've curdled into shtick, but it earned a real Emmy nomination for Outstanding Television Movie — proof the sentimental-comfort-food comedy still has real craft behind it when it's done with care rather than cynicism.

**9. Splitsville.** A divorce comedy with teeth, built around Dakota Johnson and Adria Arjona navigating the messy, unglamorous aftermath of a marriage falling apart in real time rather than through a tidy montage. It picked up a Best Comedy nomination at the Critics' Choice Awards, and its willingness to let its characters be genuinely unlikable for stretches is what separates it from the genre's usual reconciliation arc.

**8. Is This Thing On?** Bradley Cooper directs Will Arnett as a stand-up comedian rebuilding his sense of humor — literally and otherwise — after an amicable divorce forces him back to open mics he'd long since outgrown. It's a smaller, more melancholy film than its premise suggests, using stand-up as a structure for grief rather than a punchline delivery system.

**7. The Naked Gun.** The hardest job in comedy might be reviving a dead-genre parody franchise for an audience that never saw the originals, and this Liam Neeson-led reboot (as Frank Drebin Jr., saving Police Squad from closure) mostly pulls it off by refusing to let more than a few seconds pass without a sight gag landing somewhere in frame. It's not subtle, and it's not trying to be — it's the year's best argument that pure, high-density gag density still works if the timing is right.

**6. Oh, Hi!** Molly Gordon co-writes and co-stars in a premise that sounds like a thriller logline — a woman holds her new boyfriend hostage after he casually reveals he isn't looking for a relationship — and plays almost all of it for absurdist comedy instead. Several of its escalating set pieces are genuinely startling in how far they're willing to push an audience's discomfort before pulling back to a joke.

**5. Deep Cover.** An action-comedy hybrid starring Bryce Dallas Howard, Orlando Bloom, and Nick Mohammed as a trio of improv-comedy actors recruited, absurdly, for real undercover police work — a premise that lets the film get real mileage out of characters who are professionally quick on their feet being dropped into situations where that's a genuine survival skill. It's sitting at a strong 91% on Rotten Tomatoes, and it earns that with tightly plotted set pieces rather than coasting on the high concept alone.

**4. Roofman.** Channing Tatum plays a real-life serial McDonald's robber who, after his eventual capture, escapes prison and secretly lives inside a Toys 'R' Us for months — a story so strange it barely needs embellishing. What makes it work is the film's straight-faced commitment to the material: it never winks at how absurd the premise is, and that restraint is what makes both the comedy and the film's surprisingly tender character study land.

**3. The Phoenician Scheme.** Wes Anderson doing a globe-trotting caper centered on a wealthy, morally compromised businessman trying to reconnect with his estranged daughter is, structurally, as Wes-Anderson-as-it-gets — meticulous framing, deadpan delivery, an ensemble cast working in miniature. For anyone already on his wavelength, it's one of his most purely enjoyable films in years; for anyone who isn't, it won't be the film that converts you, and it doesn't try to be.

**2. Twinless.** A black comedy about two men who meet, and bond, through a grief support group for twins — a premise that could tip into mawkish territory in less careful hands, but instead becomes one of the year's most purely acclaimed films, period. It holds a 97% Tomatometer score and won the Audience Award at Sundance, and its comedy comes almost entirely from how specific and unsentimental its central friendship is allowed to be.

**1. One Battle After Another.** The hardest film on this list to categorize cleanly is also its best: a sprawling, high-velocity blend of political thriller, crime drama, and genuinely, consistently funny farce that critics have struggled to slot into any one genre box — and that refusal to sit still is exactly the point. Calling it 'a comedy' undersells how much else it's doing, but scene for scene, it's also simply the funniest, most confidently constructed film of the year, comedy or otherwise.