There have been plenty of great sci-fi comedies in the last decade, from underrated gems to award winners and summer blockbusters.Sci-fi comediesare often best when they balance their two genres well. Movies likeBack to the FutureandMen in Black,for example, have thrilling stories and intriguing sci-fi concepts, as well as great jokes and strong comedic performances.
In the last 10 years, sci-fi comedies have been used to lovingly poke fun at the genre, but sci-fi has also been used as a guise to facilitate plenty of social commentary and satire. Movies likeSorry to Bother You, Palm SpringsandThe Lobsterall use sci-fi concepts to show how unusual everyday life has become for people in the here and now. Other sci-fi comedies have used humor to lighten up some cerebral stories that could otherwise be too dystopian and depressing.
Sorry to Bother Youtakes a satirical look at modern corporate culture, with an emphasis on code-switching and Black experiences in capitalist structures.Atlantastar Lakeith Stanfield plays Cash, a man who suddenly starts excelling in his low-level call center job when he discovers the power of his “white voice,” which is provided by David Cross. The premise doesn’t begin to explain the sci-fi weirdness thatSorry to Bother Youmanages to pack in.
Sorry to Bother Youstarts out as a grounded story, but more and more sci-fi elements are thrown in as Cash rises through the ranks and discovers the sickening reality that bolsters his cushy job. Still, there’s very little to tee up the bizarre third act twist.Sorry to Bother Youis a movie which delights in shocking its audience. It can be so surreal that the sheer audacity of the movie is funny, but also has some scathing satirical ideas.
Phil Lord and Christopher Miller worked onThe Mitchells vs. the Machinesin betweenSpider-Versemovies, and it has the same unorthodox animation style. The story follows an ordinary family as they fight off the robot apocalypse, and it features comedic homages to movies likeThe Terminatorand2001: A Space Odyssey.It’s definitely one of Netflix’s best animated movies, although it was originally developed by Sony Pictures Animation with the intention of a wide theatrical release.
The Mitchells vs. the Machinesdelivers a heartwarming finale, even in the midst of a chaotic sci-fi fight sequence with an army of robots.
The Mitchells vs. the Machinesfeatures a great voice cast packed with comedic talent. Danny McBride, Abbi Jacobson and Olivia Colman all get plenty of laughs, despite playing wildly different characters.The Mitchells vs. the Machinesmanages to combine this fresh humor with plenty of emotion. It’s a family movie, and it delivers a heartwarming finale, even in the midst of a chaotic sci-fi fight sequence with an army of robots.
Asteroid Cityhasn’t enjoyed the same level of critical acclaim as some ofWes Anderson’s best movies, likeThe Grand Budapest Hotel, RushmoreandFantastic Mr. Fox.However, it could well grow in popularity as time passes.In some ways, it seems like one of Anderson’s most personal movies, reflecting on his artistic evolution and the boundaries of his idiosyncratic style.
Anderson adds some new faces to his regular rotation of actors inAsteroid City.
Anderson adds some new faces to his regular rotation of actors inAsteroid City,with Margot Robbie and Tom Hanks among the most notable newcomers. It’s often the case that the most interesting performances in Anderson’s movies come from those who don’t fit neatly into his style, and Hanks is one of these. Robbie also leaves a lasting impression despite appearing in just one scene. Altogether,Asteroid Cityis a densely layered sci-fi comedy that deserves a second examination.
Yorgos Lanthimos' moviesare immediately recognizable, due to his flat, unemotional dialogue and the unsettling, nervous atmosphere that hangs over them. This unorthodox style has been used for horror and psychological drama, but it’s also a great comedic tool.The Lobsteris arguably Lanthimos' funniest movie of all, thanks to a masterfully deadpan central performance from Colin Farrell.
The Lobsteris arguably Lanthimos' funniest movie of all, thanks to a masterfully deadpan central performance from Colin Farrell.
The Lobstersatirizes the state of modern romance, following events at a hotel for singles who must find love or be surgically transformed into animals. The absurd dystopia offers a lot of laughs simply from how nonsensically the characters behave. Farrell isn’t the only actor who suits Lanthimos' deadpan comedy inThe Lobster,since John C. Reilly, Olivia Colman and Rachel Weisz all have memorable moments.
Before joining the MCU, Paul Rudd built a reputation as one of the funniest actors of his generation, appearing in plenty of movies and TV shows.Ant-Manis a big-budget sci-fi actioner, but it has the same humorous streak as many ofPaul Rudd’s best movies. Comedy doesn’t always improve the MCU, butAnt-Manstrikes the right tone, and it’s a great way to introduce a relatively obscure comic book character.
Ant-Manis a superhero origin story and a crime caper rolled into one, and it draws the comedy out of both sides of its story.
Ant-Manis a superhero origin story and a crime caper rolled into one, and it draws the comedy out of both sides of its story. Rudd is funny as the two-bit thief trying to salvage his relationship with his daughter, and as the unwitting superhero.Rudd had a hand in writing the script, alongside longtime comedy collaborator Adam McKay. Edgar Wright and Joe Cornish also contributed to the script, so it’s no surprise that it overflows with great character-driven comedy.
Alltime loop sci-fi movieshave to endure comparisons toGroundhog Day,and very few of them have a chance at standing up to such high standards.Palm Springsis a rare exception, and it has a few fun ideas which innovate on the time loop concept. For one thing, the protagonist’s love interest is quickly dragged into the time loop alongside him, and this means that their relationship can develop in a bubble.
Andy Samberg and Cristin Milioti strike up an infectious and believable chemistry inPalm Springs.
Andy Samberg and Cristin Milioti strike up an infectious and believable chemistry inPalm Springs.There are plenty of fun and games to be had, but they also offer enough dramatic weight to bring home some of the movie’s surprisingly emotional moments.J. K. Simmons is the icing on top of the cake, with a scene-stealing performance as the third individual trapped in the time loop, occasionally pursuing and murdering the others when the mood strikes him.
The Martianwon the Golden Globe for Best Motion Picture - Musical or Comedy.This raised a few eyebrows at the time, since there was some debate over whetherThe Martianshould even be eligible as a comedy. There’s nothing inherently funny about the plot. It’s a sci-fi thriller about an astronaut stranded on Mars who faces impossible odds trying to survive for long enough to await rescue.
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AlthoughThe Martiandoesn’t have a funny story, there are plenty of comedic moments to keep the tone light and the pace up. Matt Damon’s affable protagonist keeps a video diary on Mars, which often acts as a way for him to talk directly to the audience and crack a joke or two. The humor isn’t important to the plot, but it’s vital to differentiateThe Martianfrom other perilous astronaut movies of the 2010s, likeGravity, InterstellarandAd Astra,none of which offer any laughs. Overall, it’s one ofRidley Scott’s best movies, proving that he can do sci-fi that isn’t as bleak asBlade RunnerorAlien.
The first twoThormovies offer solid superhero fare, but they don’t exactly stand out from the other movies in the MCU. Taika Waititi was brought on board as the director for the threequel, andThor: Ragnaroktook a wild new direction. It’s a much funnier, more colorful and more upbeat movie than the two which preceded it, and its style sent shockwaves throughout the entire MCU.
Rather than compromising on his style to fit into the formula of the MCU, Waititi bendsThor: Ragnarokto his own tastes.
Rather than compromising on his style to fit into the formula of the MCU, Waititi bendsThor: Ragnarokto his own tastes. BeforeRagnarok,Waititi made a name for himself directing independent comedies. His first big-budget blockbuster has more recognizable stars, some explosive action and impressive visual effects, but it still has his fingerprints all over it.Not many directors have been able to do their own thing with a Marvel movie in this way.
Poor Thingsis a confronting movie, filled with sex, violence and perverse scientific experiments which subvert the natural order. Emma Stone stars as a woman with the brain of a newborn, and she gradually ages and learns about the world around her throughout the story. It’s a twisted take on aFrankensteintale as only Yorgos Lanthimos could do it, but it’s also frequently hilarious.
The absurd and often repulsive nature ofPoor Thingssets the stage for some surprising comedic outbursts.
The absurd and often repulsive nature ofPoor Thingssets the stage for some surprising comedic outbursts. Mark Ruffalo delivers many of the funniest lines as a spoiled and pompous dandy, but most of the humor comes from Bella Baxter’s exploration of the world.Poor Thingstrades in the darkest of dark humor, getting laughs from the sight of Bella gleefully stabbing a corpse or pleasuring herself at the dining table.
It’s relatively rare for a comedy movie to win the Oscar for Best Picture, but this is whatEverything Everywhere All at Onceachieved. The multiverse martial arts comedy presents a heady mix of grounded family drama and dimension-hopping madness. The great miracle that makesEverything Everywhere All at Oncetick is that it remains engaging and emotionally resonant even while the endless scope of its premise might otherwise threaten to diminish its stakes.
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Everything Everywhere All at Oncehas a great script, and it moves between comedy and emotional drama with ease. This is because the barrage of surreal imagery - like the sausage-finger universe and the Racacoonie universe - is all linked to the deepermeaning ofEverything Everywhere All at Once.It’s the kind of rare comedy that can make audiences think without neglecting its duty to making them laugh.
