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( Read the New York Times review.) ‘Austin Powers: The Spy Who Shagged Me’
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But John Leguizamo steals the show as a “drag princess” in training his performance is energetic, upbeat and enjoyable, and the movie offers much of the same. Patrick Swayze is disarming as the den mother of the trio, whose cross-country trip to the Miss Drag Queen of America Pageant is diverted by car trouble into a back-road small town, and Wesley Snipes delivers his one-liners with screwball snap.
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This road movie was a revelation at the time of its release: a mainstream studio comedy concerning three drag queens, all played by marquee movie stars, free of the condescension and gay panic so typical of ’90s popular culture. ‘To Wong Foo, Thanks for Everything, Julie Newmar’ Together, they crash a fancy restaurant, a midday parade, and a very expensive car, all while humiliating a buzzkill school administrator. Matthew Broderick is the unflappably cool title character, who decides to take a mental health day - not only for himself and his adoring girlfriend (Mia Sara), but also for his uptight best pal (Alan Ruck). John Hughes may have made more poignant or romantic teen comedies during his mid-80s heyday, but this was his funniest picture: confident, brash and eminently quotable. Some prefer “ Step Brothers” (if so, hurry it leaves Netflix at the end of the month), but don’t sleep on this wickedly smart spoof of tough-guy buddy cop movies, which unexpectedly twists into a takedown of white-collar crime in the wake of the 2008 financial meltdown - foreshadowing McKay’s later success with “The Big Short.” ( Read the New York Times review.) ‘Ferris Bueller’s Day Off’ Will Ferrell and Adam McKay first partnered up on “Saturday Night Live,” and continued that collaboration on the big screen, with McKay co-writing and directing several of Ferrell’s funniest vehicles. At the same time, Smith and Mendes generate real chemistry, provoking a genuine rooting interest in the midst of this lightweight romp. The director Andy Tennant mines plenty of laughs from Smith’s built-in swagger and James’s customary oafishness before turning those personas inside out. He filled that niche a bit here, as a relationship expert whose latest client (a sweet and likable Kevin James) proves something of a challenge - one that arrives just as he meets the woman of his own dreams (Eva Mendes). Will Smith is so good at saving the world, he rarely gets the chance to flex his considerable romantic charm on the big screen. Or, as Murray puts it, “That is one nutty hospital.” ( Read the New York Times review.) ‘Hitch’ “Tootsie” deftly mixes screwball comedy, social commentary, gentle romance, and media satire, culminating in a third-act reveal as satisfying as any door-slamming farce. Murray’s appearance as Dustin Hoffman’s bemused roommate is one of the high points of Sydney Pollack’s 1982 smash, in which Hoffman riffs on his own “difficult” reputation by playing a struggling New York actor who finally finds employment by masquerading as a tough, middle-aged actress.
Frank Drebin, a police detective so bumbling he makes Clouseau look like Columbo Nielsen knew, as the best comic actors did, that the only way to sell this silly material was with the straightest possible face. (Its lesser, but still enjoyable, 1991 sequel “ The Naked Gun 2½: The Smell of Fear” is also on Netflix.) Leslie Nielsen is a deadpan delight as Lt.
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( Read the New York Times review.) ‘The Naked Gun: From the Files of Police Squad!’įor sheer laughs per minute, it’s hard to top this 1988 gag fest from the creators of “Airplane!,” who turned their short-lived TV comedy series “Police Squad!” into a sidesplitting spoof of cop movie clichés.
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There’s more Python on Netflix than you can shake a dead parrot at, including the full series of “Flying Circus,” compilation packages from that show, live performances, documentaries and their controversial 1979 skewering of biblical epics, “ Monty Python’s Life of Brian.” But the highlight is “Holy Grail,” the troupe’s beloved 1975 sendup of the King Arthur legend, featuring such classic bits as the never-say-die Black Knight, the inventively profane French guards, the Knights Who Say Ni! and the fourth-wall-breaking opening credits and conclusion.
With that in mind, here are some of the most effective laughter delivery systems currently on Netflix: ‘Monty Python and the Holy Grail’ “Laughter is the best medicine.” “We could all use an escape right now.” “I just want to turn my brain off.” Clichés all, but some things become cliché because they’re true - and right now, while we’re all cooped up in varying states of worry for the foreseeable future, there are worse ideas than queuing up a comedy and taking your mind off … well, everything.