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MONTY PYTHON AND THE HOLY GRAIL (1975) The inventive British sketch comedians (John Cleese, Graham Chapman, Terry Gilliam, Terry Jones, Michael Palin, Eric Idle) do battle with the Arthurian legend, complete with a Trojan Rabbit and a Holy Hand Grenade. Tradition loses. We win.SILVER STREAK (1976) A bright parody of Alfred Hitchcock's "train" pictures, starring Gene Wilder as a mild-mannered executive who boards the Silver Streak from L.A. to Chicago and finds himself embroiled in mystery and romance. Richard Pryor pushes the humor to a new level; Jill Clayburgh contributes the glamour, Patrick McGoohan the villainy.
CAR WASH (1976) Like L.A.'s teeming freeways, disparate lives intersect in this bubbly ensemble piece abut a white-owned car washery and the African-American and Latino crews who work there. This '70s time capsule sports an irresistible soundtrack and appearances by some of the era's top comic talent, including Richard Pryor, George Carlin and Franklyn Ajaye.
THE BINGO LONG TRAVELING ALL-STARS AND MOTOR KINGS (1976) The Negro Leagues just before Jackie Robinson broke baseball's color line. With James Earl Jones, Richard Pryor, Billy Dee Williams and lesser known, but just as enjoyable, performers.
THE GOODBYE GIRL (1977) Aspiring actor Richard Dreyfuss and bitter divorcee Marsha Mason are forced to share an apartment. It's aversion at first sight. Neil Simon's script and Herb Ross's direction assure that there are at least two laughs per minute.
ANNIE HALL (1977) A mix of autobiography, surrealism and romance, this Woody Allen comedy was named Best Picture because of lines like: "Life is full of loneliness, misery, suffering and unhappiness--and its all over much too quickly." Starring Allen as a Jewish stand-up comedian, and Diane Keaton as his deliciously ditsy WASP girlfriend. In a prototypical scene, a moviegoer bombinates about the meaning of Marshall McLuhan--whereupon Allen brings on the Professor himself to refute the loudmouth.
SEMI-TOUGH (1977)A satire of professional football would have been funny enough, but this film also dispatches such once-fashionable movements as est and Rolfing. Burt Reynolds and Kris Kristofferson are the players; Jill Clayburgh is the love interest; Bert Convy and Lotte Lenya are the hysterical gurus of self-improvement.
THE JERK (1979) Steve Martin was just one of the "Wild and Crazy Guys" of "Saturday Night Live" when he burst onto the screen in this farce about a white moron adopted by black sharecroppers. Like Forrest Gump in a later era, Martin succeeds in spite of himself, and we laugh all the way to the bank. Director Carl Reiner may not be much on nuance, but he knows how to tell a joke.
BREAKING AWAY (1979) A charming tale of youths from blue-collar families growing up in the class-conscious town-and-gown atmosphere of Bloomington, Indiana. Competitive bicycling is the lead character's way of life, and a series of contests makes for excitement and edgy humor.
THE BUGS BUNNY/ROADRUNNER MOVIE (1979) Disney films got applause and Oscars, but Warner Bros. cartoons engendered nonstop laughter. Some of the very best shorts were created by Chuck Jones, as this compilation demonstrates in overplus.
AIRPLANE! (1980) The ultimate send-up of the disaster genre. The directors/writers Jim Abrahams, and the brothers Jerry and David Zucker provide an avalanche of visual gags, parodies and puns. ("Surely you can't be serious." "I am serious, and don't call me Shirley.") Don't like a joke? Wait 10 seconds and there'll be a new one. With Robert Hays as a failed pilot, Julie Hagerty as a flighty flight attendant, and a grand cast of poker-faced stiffs, including Leslie Nielsen, Lloyd Bridges and Robert Stack.
PRIVATE BENJAMIN (1980) A pampered bride (Goldie Hawn) becomes a widow on her wedding night. What to do? In the old days, men would drown their sorrows by joining the French Foreign Legion. She enlists in the U.S. Army. Her rude awakening comes when a tough drill sergeant (Eileen Brennan) introduces Private Benjamin to the rigors of military life.
NINE TO FIVE (1980) When women were women, and men were chauvinists. Three secretaries (Lily Tomlin, Dolly Parton and Jane Fonda) are mercilessly harrassed by their boss (Dabney Coleman). Director Colin Higgins never lets up, and the sexist boss finally gets his well-plotted verbal and visual comeuppance.
MY FAVORITE YEAR (1982) Although he isn't credited, the spirit of Errol Flynn, Hollywood's ultimate ladies' man, hovers over this appealing film. Peter O'Toole plays an aging, hard-drinking roué; Mark-Linn Baker is the kid who brings him home to lower-class Brooklyn, and promptly causes a riot. Richard Benjamin, an actor who knows from timing, directed capably.
VICTOR/VICTORIA (1982) In 1930s Paris, struggling singer Victoria (Julie Andrews) befriends Teddy (Robert Preston) a gay nightclub entertainer. He suggests a career move. Why not tour as Victor, a man posing as a woman? Victor/Victoria becomes a smash--but comic complications attend the gender-bending: pursuit by a gangster (James Garner) and hostility from the thug's girlfriend (Leslie Anne Warren.) Tastefully directed by Blake Edwards, who might have been vulgar but never goes over the edge.
TOOTSIE (1982) A self-centered actor (Dustin Hoffman) can't land a job--because the only parts available are for women. So he dresses as one, gets a soap opera part, learns how the other half lives, and becomes a better man/woman for it. Smart direction by Sydney Pollack (who also plays an agent) stresses credibility and gets laughs. So do Bill Murray, Teri Garr, Jessica Lange and Dabney Coleman.
48 HOURS (1982) Nick Nolte is a large white cop with small eyes; Eddie Murphy is a small black convict with big eyes. Under Walter Hill's direction, they fight crime, spout one-liners and create big-time havoc. A great pairing, done before the two got stale.
FAST TIMES AT RIDGEMONT HIGH (1982) An accurate portrait of Southern California adolescence. All the hormones are in overdrive, with expected but pleasing results. Sean Penn leads the cast. Silver-screen debuts of Nicolas Cage, Eric Stoltz and Forest Whitaker.
DINER (1982) Writer/director Barry Levinson's funny, fond look in the rearview mirror. What he sees is the city of his youth--Baltimore--and the friends who hung out together in an eatery. First feature-film appearances for Ellen Barkin and Paul Reiser.
TRADING PLACES (1983) The title represents the truth in labeling. Eddie Murphy, a streetwise African American hustler, exchanges jobs with Dan Aykroyd, a very proper Philadelphia stockbroker. The results are everything you'd expect from these two--and more. John Landis directed.
GHOSTBUSTERS (1984) House haunted? Hire Dan Aykroyd and Bill Murray, who know how to dispel ghosts and dispense jokes. So do Sigourney Weaver, Harold Ramis, Rick Moranis and director Ivan Reitman.
THIS IS SPINAL TAP (1984) Rock 'n' roll has the courage to laugh at itself in Rob Reiner's pioneering mockumentary. It follows a British heavy metal group, short on talent and money, as they tour third-rate venues across the United States on their way to oblivion. With wonderfully straight-faced performances by Chris Guest, Michael McKean, Harry Shearer, Bruno Kirby and Tony Hendra.
PRIZZI'S HONOR (1985) Jack Nicholson is a lightheaded hit man for the mob. He falls in love with Kathleen Turner, who turns out to be a hit woman for another mob, with a very uncomfortable agenda. Black comedy--or rather Black Hand comedy--at its best. Anjelica Huston is as fine as the leads, and her father, John, did a classy job of direction.
AFTER HOURS (1985) Marty Scorsese's affectionate glimpse of lower-Manhattan's wildlife. Sheltered yuppie Griffin Dunne loses himself in a downtown Wonderland where, he learns, "different rules apply." As full of surprises as the world it depicts.
LOST IN AMERICA (1985) A "white-bread" couple (Albert Brooks and Julie Hagerty) give up their jobs and drive cross-country to see the flyover country they missed. En route, they find nothing but trouble--funny trouble--especially in Las Vegas, where they lose the better part of their savings and vainly try to recoup. Garry Marshall is unforgettable as a casino owner. Brooks directed, wrote, starred and sparkled.
DOWN AND OUT IN BEVERLY HILLS (1986) A bum (Nick Nolte) attempts to drown himself in the pool of a nouveau riche couple (Richard Dreyfuss and Bette Midler) becomes involved in their lives, and wrecks everything. Paul Mazursky directed with a trowel, but it's laugh-filled anyway.
ROXANNE (1987) Edmond Rostand's play about Cyrano de Bergerac, a man with a talent as big as his nose, is brought up to speed by Steve Martin, who wrote and starred. As in the original, a gifted suitor, C. D. (Martin) is smitten by the gorgeous Roxanne (Daryl Hannah.) Alas, she has fallen for a handsome dimwit, Chris (Rick Rossovich). Since C. D. can't have her, he generously helps Chris woo the lady with poems and speeches. Martin is alternately droll and poignant in this mini-masterpiece.
GOOD MORNING, VIETNAM (1987) The story, much exaggerated, of Adrian Cronauer. This one-time disc jockey was the voice of Armed Forces Radio until he was forced out in 1965. Robin Williams takes the bio and runs with it. Uneven but inventive humor with a moral. Forest Whitaker offers strong backup; Barry Levinson directed with heart as well as funnybone.
BROADCAST NEWS (1987) James Brooks's satiric exposé of TV journalism--as all style, zero substance. William Hurt is the anchorman with good looks and no brain; Albert Brooks is the reporter with smarts and no style. Holly Hunter is their obnoxious boss.
PLANES, TRAINS AND AUTOMOBILES (1987) A tired businessman (Steve Martin) tries desperately to get home. Nobody listens, except a lumpish, insensitive passer-by (John Candy.) Disaster follows. The cast plays it for reality as well as laughs, thanks to director John Hughes.
BIG (1988) An unhappy kid wishes he were a grownup. And voilà! He magically becomes one--except that he retains a 12-year-old mind in an adult's body. Tom Hanks is just as magical as the premise. Penny Marshall directs a glowing cast.
A FISH CALLED WANDA (1988) A shaggy fish tale, written by former Monty Python veteran John Cleese, who also stars in this caper gone mad. Fellow Pythonite Michael Palin helps enormously, as do Jamie Lee Curtis and a frantically stuttering Kevin Kline.
BEETLEJUICE (1988) A young couple (Geena Davis and Alec Baldwin) are killed in an automobile accent, and return as ghosts, ready to inhabit their dream house. Alas, the place is occupied by live interlopers. The pair isn't skilled enough to scare a mouse, so they hire the evil Beetlejuice (Michael Keaton). Fine ensemble work, and director Tim Burton supplies so many sight gags and special effects that you might want to view it twice.
HONEY, I SHRUNK THE KIDS (1989) Children accidentally point an experimental ray gun the wrong way and become minuscule and helpless. Smashing special effects, and delicious performances by Rick Moranis and a quartet of talented minors.
CITY SLICKERS (1991) Afflicted by various midlife crises, three urbanites (Billy Crystal, Bruno Kirby, Daniel Stern) try to sort things out on a cattle drive. The complications are unfailingly merry, and Jack Palance--as the rough-hewn, straight-faced head drover--makes John Wayne look like Shirley Temple.
SOAPDISH (1991) Daytime soap operas make an easy target. However, thanks to fine performances by Kevin Kline as an aging ham, and Sally Field as his ex, there's a lot to think about and laugh at. Whoopi Goldberg, Garry Marshall. Robert Downey, Jr., and Elisabeth Shue add deliciously to the mix.
A LEAGUE OF THEIR OWN (1992) Penny Marshall's valentine to a women's hardball league during WWII when male players were in the service. Terrific performances by Geena Davis, Madonna (!), Rosie O'Donnell and Tom Hanks. ("There's no crying in baseball.")
MY COUSIN VINNY (1992) Joe Pesci, a Brooklyn loudmouthpiece heads to Wazoo, Alabama, to defend his innocent cousin (Ralph Macchio) in a murder trial. Ba-da-bing farce, with a star turn by Marisa Tomei as Joe's amusing side-of-da-mouth girlfriend.
GROUNDHOG DAY (1993) Egomaniacal weatherman Bill Murray spends a night in Punxsutawney, Pa., where the local groundhog is supposed to see his shadow and predict how long winter will last. Trouble is, Murray gets caught in a time trap, and keeps repeating the day, minute by minute, day after day. Scrooge becomes saint, but not before some funny and wise interludes, supervised by director Harold Ramis.
FOUR WEDDINGS AND A FUNERAL (1994) Blithe British comedy about a young man (Hugh Grant) who can't commit until he meets an unattainable woman (Andie MacDowell). With a choice supporting cast, under Mike Newell's direction.
BABE (1995) That rarity of rarities, an authentic family comedy, about an orphaned piglet growing up on a farm in the company of dogs, sheep and people, all of whom can talk--except that only the animals can understand one another. Exceptional animatronic effects.
JERRY MAGUIRE (1996) The social commentary never loses its sense of humor in this full-length portrait of a venal sports agent (Tom Cruise) whose client lives by the slogan, "Show me the money." Adroit backup by Cuba Gooding, Renée Zellweger and some actual athletes.
THE FULL MONTY (1997) Unemployed steelworkers try a new line of work--they become male strippers. Surprisingly sensitive and unfailingly witty presentation of underclass Britain by director Peter Cattaneo. Anne Dudley's score won an Oscar.
MEN IN BLACK (1997) Alien conspiracy culture takes some good-natured ribbing in this sci-fi farce. Will Smith and Tommy Lee Jones are the titular men sent to save us from space invaders. Fantastic special effects.
YOU'VE GOT MAIL (1998) An elegant update of The Shop Around the Corner (1940), this time with two competitive bookstore owners sending each other anonymous, hostile e-mails. Tom Hanks and Meg Ryan shine under the direction of Nora Ephron, who is singlehandedly reviving the spirit of classic cinema comedy-romance.
SHAKESPEARE IN LOVE (1998) Writers Tom Stoppard and Marc Norman see the Bard of Avon (Joseph Fiennes) not as a sublime poet/playwright, but simply and amusingly as a writer on deadline, trying to bat out Romeo and Ethel, the Pirate's Daughter, before the creditors close in. Anachronistic yet effective situations abound, along with some tasty cross-dressing by Gwyneth Paltrow. The amiable cast includes Simon Callow, Geoffrey Rush and Judi Dench.
THERE'S SOMETHING ABOUT MARY (1998) Indeed there is, as played by Cameron Diaz, and Ben Stiller has craved it since high school. Now that she's a lady every other man does, too. Sophomoric? Yes. Hilarious? Absolutely. Matt Dillon helps.
AMERICAN PIE (1999) Familiar story of young men trying to lose their virginity and being thwarted at every turn. Unlike earlier teenflicks, however, this farce doesn't put down grownups, and gives some of its best lines to female characters. Ultimately, however, what gives this Pie its tart sweetness is an endearing cast, led by Jason Biggs, Eugene Levy and Alyson Hannigan.
ANALYZE THIS (1999) A mob capo (Robert De Niro) suddenly begins to suffer from panic attacks. Distressed, his bodyguard (Joe Viterelli) seeks out a shrink (Billy Crystal). and the complications begin. The doctor is a family psychiatrist, but this is definitely not the kind of family he had in mind. De Niro displays a great gift for comedy, and a very funny Crystal doesn't make the obvious choices. Even so, Viterelli practically steals this surprisingly well-made picture.
TOPSY-TURVY (1999) Backstage lives of those 19th-century masters of operetta, W. S. Gilbert and Arthur Sullivan. Richly detailed direction by Mike Leigh, with persuasive performances by Jim Broadbent, Allan Corduner and supporting players.
GALAXY QUEST (1999) Tim Allen, Sigourney Weaver, Alan Rickman and Tony Shalhoub star as the washed-up cast of a long-cancelled TV series. When a marauding race of aliens comes calling, the actors resume their former roles--this time with feeling.
MEET THE PARENTS (2000) Ben Stiller tries to ingratiate himself with his girlfriend's mom and dad. The trouble is, her old man (Robert De Niro) is ex-CIA, and paranoid about the young man whose job description is Male Nurse. Director Jay Roach keeps this a winner from opening frame to fade-out.
SHREK (2001) Once upon a time there was an Ogre (Mike Myers) whose swamp got overrun by intruders from fairy tales and Disney movies, including Pinocchio, three little pigs and a big bad wolf. All are refugees from the kingdom of the wicked Lord Farquaad (John Lithgow). With the help of an articulate donkey (Eddie Murphy), Shrek sets things right and, along the way, wins the love of Princess Fiona (Cameron Diaz), who has a secret but endearing flaw. Computer animation with great humor and, even rarer, heart.
MY BIG FAT GREEK WEDDING (2002) The life story of Toula (Nia Vardalos) whose family instructs her to marry a Greek boy and make Greek babies. Instead she chooses Ian (John Corbett). The collision of cultures is inevitable. ("I'm a vegetarian," Ian explains to a Greek aunt. "That's OK. I'll make lamb.") Fine performances all around, especially from Michael Constantine as Toula's ethnocentric dad.
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