Whatever happened to the great film comedy?

In our last conversation, Covino made the point that there might be an entire generation in their 20s who had not sat in a cinema to enjoy a decent comedy until they saw Barbie or The Naked Gun remake. But even these two examples – a film serving elaborate intellectual property and a s/requel – only serve to underline how original comedy is no longer part of the cinematic landscape. 

It’s either spicing up pre-existing IP (see also Minecraft: The Movie) or we’re into sequels: Spinal Tap II, which wasn’t a complete shit sandwich, but there was definitely some “I Can’t Believe It’s Not Shit” sandwich spread involved.

In the Sight and Sound top 250 films of all time, the world’s top critics have concluded that Spinal Tap shouldn’t get a look-in despite the fact that it’s a nigh-on perfect movie which created an entire genre – the mockumentary – that had a profound and long-lasting effect on our culture. The Office? Parks and Rec? What We Do in the Shadows? 

In fact, the first non-musical comedy is listed at no. 23 and it’s French: Jacques Tati’s Playtime. Charlie Chaplin comes in at 36 with City Lights; Billy Wilder’s Some Like It Hot is placed two positions up at 38 and Buster Keaton doesn’t even make the first 50, with Sherlock Jr. coming in at 52. Why wasn’t it number one? Because critics are a bunch of arseholes.* 

Over there in a dark corner, horror fans are a bunch of crybabies. They are constantly whining about why horror isn’t taken seriously. “Sinners should’ve won best picture! Waaaaah! Waaaaaaaah!” they blub, but the reality is they’re cock of the north compared to comedy. 

Look at the releases in 2025. You’ve had the aforementioned Sinners (which won four Oscars btw), Weapons (also won an Oscar), 56 years worth of 28 Years Later films, two great Oz horror films, Dangerous Animals and Bring Her Back, Companion, Good Boy and Guillermo Del Toro’s Frankenstein (three Oscars). Waaaaaaah! Waaaaaah! Waaaaaah!

But perhaps comedy fans should take a leaf out of the horror fanbase. For all their noise, they’ve gained if not respectability then definitely visibility. 

Studios know that there is an audience which will come and watch a horror movie. It doesn’t need a star. It doesn’t need to be a recognisable IP. In fact, originality is highly prized. Look at how Damien Leone’s Terrifier films have made Art the Clown an icon and his ultra-gory antics a surefire money-spinning hit. 

There’s something else. Watching horror is better when it’s done in a cinema. Feeling the whole crowd jump with you, screaming, shouting and laughing as a group is all part of the fun. It can even become an event with people dressing up as the characters from the film. 

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Why is every big movie now so excessive and exhausting?

John Bleasdale

Now, what other genre can you think of which is best enjoyed in a communal context? I’ll give you a clue. It begins with “c” and rhymes with comedy. 

Part of the problem might be that comedy has now been co-opted by other genres. Action-comedies with John Cena are punched up by writing rooms of comedians; the wisecrackery of comic book movies employing the anti-charisma of Ryan Reynolds; the arch animated films riddled with jokes for the mums and dads to chuckle at. 

And worst of all, there are the dramedies: the “elevated horror” of comedy. If it’s a dramedy, it’s either an unfunny comedy or a comedy with sad bits. Take your pick.

Which is not to say there aren’t any good comedies, but they’re so rare they often don’t hit my radar until after their theatrical run. Coming out in 2022 and written and starring David Earl and Chris Hayward, Brian and Charles was one of the best movies ever made. It was hilarious and touching (also a mockumentary, thanks Tap) and cost just over a million to make. You could literally make a 150 Brian and Charleses with one Happy Gilmore 2.  

Emma Seligman’s Bottoms came out in 2023. A smart, surreal, subversive take on the high school movie, Rachel Sennott and Ayo Edibiri played two horny lesbians who start a fight club/self-defence class to get close to the cheerleaders.  

You could argue that neither movie broke box office records. True. And you can argue there are a lot of shite comedies out there and going to the cinema to see a bad comedy is the cinematic equivalent of having dinner with a Dementor, expensive and soul-destroying. 

But the reason horror is in its heyday is because of practice. The bar is raised. People get used to seeing things done well, being scared in interesting and new ways, being challenged by the things which horror can talk about. Film-makers develop and become better at their craft, from writers and directors to the makeup and special effects crew.  

We need a new cadre of comic actors and writers and directors and audiences who want to come together and push the boundaries of the genre. The Coen Brothers have retired and Wes Anderson can only do so much.** Woody Allen is… actually, let’s not go there. 

But there was a time that entire studios took their identities from comedy — Ealing, for instance. And frankly, I’d rather see a new Carry On than the next Ken Loach. 

And could there be a better time for it? What wouldn’t we give for an opportunity to sit in the dark and watch the new Billy Wilder tearing society a new one, the new Buster Keaton killing himself to make us laugh, a new Rob Reiner for that matter, or Mel Brooks, Diane Keaton, Meg Ryan or Goldie Hawn. A new Monty Python! 

We have the talent: Bill Hader, Amy Poehler, Tina Fey, Will Ferrell, Rachel Sennott. Jesus, not Peter Davidson though. I can’t stand him.

And let’s make real comedies, not Microsoft Windows: The Movie or Ghostbusters 17. Not explosions and gags. As the alien in Stardust Memories said, we like the early, funny ones.

*Full disclosure, I participated in the Sight and Sound poll and voted for Sherlock Jr twice.

**There is talk of a new Coen Brothers film. But it is reportedly a horror movie!! 

John Bleasdale’s novel Connery, about the life of Sean Connery, is published by Plumeria