Best Comedy Movies to Download on Netflix
The Best Movies You Tin can Actually Download Off Netflix
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'Good Time' | A24
'Skillful Fourth dimension' | A24
Netflix knows you desire to lookout movies on the go. Not merely does the streaming service rotate its offerings every calendar month, it'due south always looking for ways to evangelize the movies and TV shows you want, wherever you are. On the train or waiting for the bus? Burn down upwards a film.
To make that process easier, Netflix gives yous the power to download movies and shows to your phone or tablet, eliminating the need for an cyberspace connection—that means y'all can have a few movies set up to go for that cross-country flight. You'll need to download the Netflix app (iTunes and Android), and once you start browsing, yous'll meet a downward-pointing pointer for titles you tin download. To get you started, we picked some of our favorite downloadable movies, focussing on titles that clock in under two hours, then they hopefully won't have up too much space on your phone. (Salve The Irishman for your next couch watch.) If yous tin can't find something y'all like, your best bet is to check out the 100 best movies on Netflix. Never buffer again!
Barry(2016)
In 1981, Barack Obama touched downward in New York City to begin work at Columbia University. Equally Barry imagines, just days afterwards settling into his civics class, a white classmate confronts the Barry with an argument 1 will notice in the hereafter president's Twitter @-mentions: "Why does everything always got to be about slavery?" Exaltation is cinematic danger, especially when bringing the life of a then-sitting president to screen. Barry avoids hagiography past staying in the moment, weighing race issues of a mod age and quieting down for the audience to depict its ain conclusions. Devon Terrell is key, steadying his graphic symbol as shine-operating, socially agile, contemplative boyfriend stuck in an interracial divide. Barry could be any half-black, one-half-white kid from the '80s. But in this case, he'southward haunted by past, present, and time to come.
The Blackcoat's Girl (2017)
Two immature women are left behind at schoolhouse during interruption... and all sorts of hell breaks loose. This cool, stylish thriller goes off in some foreign directions (and even offers a seemingly unrelated subplot virtually a mysterious hitchhiker) merely it all pays off in the end, thanks in large part to the three leads—Emma Roberts, Lucy Boynton, and Kiernan Shipka—and director Oz Perkins' artful arroyo to what could accept been only another occult-based gore-fest.
Cam (2018)
Unlike the Unfriended films or the indie hit Searching, this web thriller from managing director Daniel Goldhaber and screenwriter Isa Mazzei isn't locked into the visual confines of a computer screen. Though there's plenty of online screen fourth dimension, allowing for subtle $.25 of commentary and satire, the looser style allows the filmmakers to actually explore the life and work weather condition of their protagonist, rising cam daughter Alice (Madeline Brewer). We see her friends, her family, and her customers. That blazon of immersion in the granular details makes the scarier bits—like an unnerving confrontation in the finale between Alice and her evil doppelganger—pop fifty-fifty more than.
Carol (2015)
Todd Haynes' story about lesbian love in the 1950s is a gorgeous flick from start to terminate: from the management (every frame is every bit lush as a painting) to the awards-worthy performances (Rooney Mara as the gawky, vulnerable Therese and Cate Blanchett equally the alluring, perfectly coiffed Carol—seriously, give this woman's hair-swoop its own award). No matter which style you swing, Carol is ane of the most tender cinematic depictions ever of what it feels like to be in love—how the quality of light changes, how time slows, how every fleeting gesture takes on the deliberateness of sign language—and why two people would be willing to go confronting everything society expects of them in order to hold on to it.
Dolemite Is My Name (2019)
Rarely practise filmmakers arroyo the topic of moviemaking with the combination of unbridled joy and punchy sense of humour as Dolemite Is My Name, an endearingly sweetness biopic most multi-talented comedian and independent movie producer Rudy Ray Moore. As played past Eddie Murphy, Moore displays a savviness for noticing an opening in the 1970s amusement market—early on, he exists a screening ofThe Front Page and observes that it's got "no titties, no funny, and no kung-fu"—and then creating the exact type of product he'd similar to see. That ways plenty of nudity, jokes, and, yeah, some over-the-superlative kung-fu. In its brisk runtime,Dolemite Is My Nameshows Moore solving a serial of technical, economic, and artistic challenges: dealing with an egocentric managing director (a hilarious Wesley Snipes), securing financing to pay an inexperienced crew, and, finally, acquiring a distributor for the project he poured his life into. Like they did with 1994's Hollywood outsider character portrait Ed Forest, screenwriters Scott Alexander and Larry Karaszewski pack the story with mannerly menstruum details and fascinating bits of popular culture trivia, which director Craig Brewer's camera carefully glides over, but the movie belongs to Murphy, who moves through each scene with total command of his arts and crafts.
Eurovision Song Contest: The Story of Fire Saga (2020)
Even if yous aren't already invested in the cult of Eurovision, the singing competition that keeps a huge swath of the earth rapt every twelvemonth, you lot'll probably exist overjoyed by Eurovision, Volition Ferrell's ode to the baroque annual event. Ferrell stars aslope Rachel McAdams equally Lars Erickssong and Sigrit Ericksdottir, an Icelandic duo that make up the ring Fire Saga. These goofy musicians state a spot in Eurovision (with the help of some elves) and go along a wild and sweet run a risk. Playing like Talladega Nights meets Billy Elliot, it's an absolute joy, and the music is dandy. (Play "Jaja Ding Dong!")
The Florida Project (2017)
Sean Baker's The Florida Project nuzzles into the swirling, sunny, strapped-for-greenbacks populace of a mauve motel simply inside orbit of Walt Disney World. His eyes are Moonee, a 6-twelvemonth-onetime who adventures through abased condos, along strip mall-encrusted highway, and across verdant fields of overgrown castor like Max in Where the Wild Things Are. Only as gorgeous as the everything appears—and The Florida Projection looks stunning—the world effectually here is falling apart, beginning with her female parent, an ex-stripper turning to prostitution. The juxtaposition, and down-to-world style, reconsiders modern America in the most electrifying fashion imaginable.
Fyre: The Greatest Party That Never Happened(2019)
Everyone'south favorite disaster of a festival received not 1, butii streamingdocumentaries in the same week. Netflix's version has rightly faced some criticism over its willingness to let marketing visitor Fuck Jerry off the hook (Jerry Media produced the medico), but that doesn't take away from the overall picture it portrays of the festival's haphazard planning and the addiction to grift from which Fyre'due south founder, Billy McFarland, patently suffers. It's schadenfreude at its all-time.
Gerald'southward Game (2017)
Like his previous depression-upkeep Netflix-released horror release,Hush, a captivity thriller about a deaf woman fighting off a masked intruder, Mike Flanagan'southward Stephen Male monarch adaptation ofGerald's Gamewrings big scares from a modest location. Sticking close to the grisly plot details of King's seemingly "unfilmable" novel, the movie chronicles the painstaking struggles of Jessie Burlingame (Carla Gugino) after she finds herself handcuffed to a bed in an isolated vacation habitation when her husband, the titular Gerald, dies from a heart attack while enacting his kinky sexual fantasies. She's trapped—and that's it. The premise is clearly challenging to sustain for a whole pic, merely Flanagan and Gugino turn the potentially one-note set-upwards into a forceful, thoughtful meditation on trauma, retentivity, and resilience in the face of near-certain doom.
A Ghost Story (2017)
Director David Lowery (Pete's Dragon) conceived of this dazzling, dreamy meditation on the afterlife during the off-hours of working on a Disney blockbuster, making the revelations inside even more than awe-inspiring. Afterward a fatal accident, a musician (Casey Affleck) finds himself as a sail-draped spirit, wandering the halls of his quondam domicile, haunting/longing for his widowed wife (Rooney Mara). With stylistic quirks, plenty winks to resist pretension (a scene where Mara devours a pie in one 5-infinitesimal, uncut take is both tragic and cheeky), and a soundscape culled from the space-fourth dimension continuum, A Ghost Story connects the dots between romantic love, the places nosotros call home, and time—a ghost's worst enemy.
Adept Time (2017)
In this greasy, cruel thriller fromUncut Gems directors the Safdie brothers, Robert Pattinson stars as Connie, a bank robber who races through Queens to discover plenty money to bail out his mentally disabled brother, who's locked up for their final botched task. Each suffocating second ofPracticed Time, blistered past the neon backgrounds of Queens, New York and propelled by warped heartbeat of Oneothrix Signal Never'southward synth score, finds Connie evading authorities by tripping into an even stickier situation.
Chase for the Wilderpeople (2016)
This New Zealand backwoods adventure roughs up every single coming-of-age cliché. Julian Dennison's Ricky is an absent-minded, hip-hop-obsessed, rebellious orphan. His grizzled foster father would similar nada more than to ship the little [curse] dorsum to government care. When the 2 find themselves stranded in the woods, mistaken for on-the-lam criminals, they... decide to own it.Wilderpeople is a generous genre blend, with Taika Waititi, director of the wacky, vampiric mockumentaryWhat We Do in the Shadows and the wry superhero adventure Thor: Ragnarok, finding derisive jokes in the duo'due south perilous journey.
I Am the Pretty Thing That Lives in the House (2016)
A meditative horror flick that's more unsettling than outright frightening, I Am the Pretty Thing That Lives in the House follows the demise of Lily, a live-in nurse (Ruth Wilson) who's caring for an ailing horror writer. Every bit Lily discovers the truth about the writer's fiction and home, the lines between the physical realm and the afterlife mistiness. The moving-picture show's slow pacing and muted escalation might frustrate viewers peckish showy jump-scares, but author-director Oz Perkins is worth keeping tabs on. He brings a beautiful eeriness to every scene, and his story will captivate patient streamers. Fans should be sure to check out his directorial debut,The Blackcoat's Daughter.
I Don't Feel at Dwelling in This World Anymore (2017)
In this maniacal mystery, Ruth (Melanie Lynskey), a nurse, and her rattail-sporting, weapon-obsessed neighbor, Tony (Elijah Wood), chase downward a local burglar. Part Cormac McCarthy thriller, part wacky, Will Ferrell-esque comedy, I Don't Feel at Dwelling in This World Anymore is a cathartic neo-noir about everyday troubles. Director Macon Blair's not the first person to find existential enlightenment at the end of an amateur detective tale, but he might exist the first to piece ane together from cussing octogenarians, ninja stars, Google montages, gallons of Big Scarlet soda, upper-deckers, friendly raccoons, exploding body parts, and the idiocy of humanity.
Ip Man (2008)
At that place aren't many biopics that too pass for decent action movies. Somehow, Hong Kong action star Donnie Yen and managing director Wilson Yip fabricated Ip Man (and three sequels!) based on the life of Chinese martial-arts master Yip Kai-man, who famously trained Bruce Lee. What's their play a joke on to keeping this serial fresh? Play fast and loose with the facts, up the melodrama with each movie, and, when in doubt, cast Mike Tyson every bit an evil property developer. The fights are incredible, and Yen'southward portrayal of the aging chief still has the power to draw a few tears from even the most grizzled tough guy.
It Comes at Nighttime(2017)
In this post-apocalyptic nightmare-and-a-half, the horrors of humanity, the strain of cluttered emotions pent upward in the name of survival, bleed out through wary eyes and weathered hands. The setup is blockbuster-sized—reverting mankind to the days of the American frontier, every sole survivor fights to protect their families and themselves—just the drama is mano-a-mano. Barricaded in a haunted-business firm-worthy cabin in the woods, Paul (Edgerton) takes in Will (Abbott) and his family, knowing full well they could threaten his ain family's existence. All the while, Paul's son, Trevor, battles encarmine visions of (or induced by?) the contagion. Trey Edward Shults (Waves, Krisha) directs the hell out of every slow-push frame of this psychological thriller, and the less we know, the more confusion feels like a noose around our necks, the scarier his observations go.
Lady Bird (2017)
The dizzying, frustrating, exhilarating rite of passage that is senior yr of high school is the focus of extra Greta Gerwig'south starting time directorial endeavour, the story of girl named Lady Bird (her given name, in that "it's given to me, by me") who rebels confronting everyday Sacramento, California life to obtain whatever it is "freedom" turns out to exist. Laurie Metcalf is an understated powerhouse as Lady Bird's mother, a constant source of contention who doggedly pushes her girl to be successful in the face of the family unit's dwindling economic resources. It'south a tragic note in total complement to Gerwig'south hysterical beloved letter to abode, loftier school, and the history of ourselves.
The Meyerowitz Stories (New and Selected) (2017)
When Danny (Adam Sandler), Matthew (Ben Stiller) and Jean (Elizabeth Marvel), three half-siblings from three different mothers, gather at their family brownstone in New York to tend to their ailing father (Dustin Hoffman), a lifetime of familial politics explode out of every minute of conversation. Their narcissistic sculptor dad didn't have time for Danny. Matthew was the gold child. Jean was weird... or maybe disturbed by memories no 1 e'er knew. Expertly sketched by writer-managing director Noah Baumbach (The Squid and the Whale) this memoir-like portrait of lives half-lived is the kind of bittersweet, dimensional character comedy we're now used to seeing told in three seasons of prestige goggle box. Baumbach gives united states of america the whole package in two hours.
Monty Python and the Holy Grail(1975)
The legendary British comedy troupe took the legend of King Arthur and offered a characteristically irreverent take on it in their 2nd characteristic film. Information technology'south rare for comedy to hold upward this well, simply the timelessness of lines like, "I fart in your general direction!" "Information technology's simply a flesh wound," and "Run away!" makes this a movie worth watching again and again.
Moonlight (2016)
Chronicling the adolescence years, teenage stretch, and muted developed life of Chiron, a black gay man making it in Miami, this triptych altarpiece is at once hyper-specific and cosmically universal. Director Barry Jenkins roots each moment in the last; Chiron's want for a lost lover tin can't burn down in a diner booth over a bottle of vino without his beachside identity crunch years prior, blurred and fierce, or encounters from deeper in his past, when glimpses of his mother's drug addiction, or the mentoring acts of her scissure supplier, felt like secrets delivered in code. Panging colors, sounds, and the delicate movements of its perfect bandage like the notes of a symphony,Moonlight is the real deal, a movie that will only grow and complicate equally you lot wrestle with it.
Nightcrawler (2014)
Jake Gyllenhaal gives a career-all-time operation in this nocturnal noir, playing the haunted, single-minded Lou Flower, a scavenger of human suffering whose motives are as twisted and opaque as the seedy LA underworld he inhabits. That is, as a cameraman documenting crime scenes for a local news station—just that'south media for you! It'southward a twisted thriller, testing how much you tin can have as you lot go along an after hours high-speed chase, and information technology's all set confronting writer-director Dan Gilroy's pitch-black vision of sunny California that forces you to see the City of Angels in a whole new calorie-free.
She's Gotta Have Information technology (1986)
Before checking out Spike Lee's Netflix original series of the same name, be sure to catch upwards with where it all began. Nola (Tracy Camilla Johns) juggles three men during her sexual pinnacle, and information technology's all working out until they discover one some other. She's Gotta Have It takes some dark turns, only each revelation speaks volumes almost what real romantic independence is all about.
The Squid and the Whale (2005)
No motion picture captures the prolonged pain of divorce quite similar Noah Baumbach's savage Brooklyn-based comedy The Squid and the Whale. While the performances from Jeff Daniels and Laura Linney equally bitter writers going through a separation are elevation-notch, the moving-picture show truly belongs to the kids, played by Jesse Eisenberg and Owen Kline, who you scout struggle in the face of their parents' mounting immaturity and nothingness. That Baumbach is able to wring big, cathartic laughs from such emotionally raw textile is a attestation to his gifts as a author—and an observer of man cruelty.
Superbad (2007)
The comedy that kicked off Seth Rogen and Evan Goldberg's writing partnership crams more crude sexual practice jokes than anyone ever thought possible into a heartwarming story of inseparable all-time friends (Michael Cera and Jonah Loma) on the verge of shipping off to different colleges. Factor in some wild party scenes, a then-unknown Emma Stone, loftier-schoolhouse horndogs riffing to their hearts' content, and McLovin, and you lot've got yourself a classic high school movie that rivals the likes ofDazed and Confused.
Taxi Driver (1976)
Travis Bickle (a immature Bobby De Niro) comes back from the Vietnam War and, having some trouble acclimating to daily life, slowly unravels while fending off brutal indisposition by picking up piece of work as a... taxi commuter... in New York City. Eventually he snaps, shaves his pilus into a mohawk and goes on a murderous rampage while nevertheless managing to squeeze in one of the most New York lines ever captured on moving picture ("You talkin' to me?"). It'due south non exactly a heartwarmer—Jodie Foster plays a 12-year-old prostitute—but Martin Scorsese's 1976Taxi Driver is a motion-picture show in the cinematic catechism that you'd be legitimately missing out on if you lot didn't picket information technology.
To All the Boys I've Loved Before(2018)
Of all the entries in the rom com revival, this one, directed by Susan Johnson, is heavier on the rom than the com. Merely fifty-fifty though it won't make your sides injure, information technology will make your heart flutter. The plot is ripe with high schoolhouse pic hijinks that ascend when the love messages of Lara Jean Covey (the wonderful Lana Condor) accidentally go mailed to her crushes, namely the contractual faux relationship she starts with heartthrob Peter Kavinsky (Noah Centineo). Like its heroine, it's big-hearted only skeptical in all the correct places.
20th Century Women (2016)
If there'south such thing as an epistolary movie,20th Century Womenis information technology. Touring 1970s Santa Barbara through a living flipbook, Mike Mills's semi-autobiographical movie transcends documentation with a cast of wayward souls and Jamie (Lucas Jade Zumann), an impressionable immature teenager. Annette Bening plays his female parent, and the dame of a ragtag family, who gather together for safety, dance to music when the moment strikes, and teach Jamie the important lesson of What Women Desire, which ranges from feminist theory to honey-making techniques. The kid soaks it up like a sponge. Through Mills'south caring direction, and characters we feel extending infinitely through past and present, so do we.
Win It All (2017)
In less than ninety minutes, director Joe Swanberg and his co-writer and star Jake Johnson provide an endearing portrait of a schlub in crisis. Like he did with 2013's Drinking Buddies and final yr's Netflix serial Like shooting fish in a barrel, Swanberg zeroes in on the pocket-sized details thirtysomething existential dread and scores big. In telling the story of a gambling addict named Eddie (Johnson) who is entrusted with a purse of money, which he speedily blows in spectacular mode, the filmmaker has found an platonic mix betwixt old-fashioned Hollywood storytelling and his low-key naturalism. Volition Eddie become his shit together? Win It All is less interested in answering that question than information technology is in spending time with these lovable losers.
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