13 Best Comedies Of 2025 (So Far)

It's a shame that great comedies have gotten harder and harder to come by these days. While the major studios each used to churn out several comedies each year, now we're lucky to get a hilarious new movie once a month. But there are still plenty of laughs to be found, if you know where to look.

Thankfully, the comedy genre saw a little bit of an uptick this year, largely thanks to the presence of the revival of a particular spoof franchise that you'll find on our list of the best comedies of 2025 (so far). Along with that, there was the triumphant return of "Looney Tunes" in theaters, a healthy dose of comedian Tim Robinson, the reunion of one of the United Kingdom's greatest rock bands, a long-awaited legacy-quel, and an assortment of movies that may have flown under the radar for general audiences. But all the movies below have at least one thing in common: They're just plain funny.

Take a look at our list of the best comedies of 2025 below!

"The Day the Earth Blew Up" is a miracle of a movie. Not only is it the first fully animated feature- length movie (sorry, "Space Jam") featuring the Looney Tunes (and it's on HBO Max now), but it also strikes the perfect balance between genius and stupid. Pete Browngardt — creator of "Uncle Grandpa" and a writer on "Flapjack," "Chowder" and "Adventure Time" — brings the surrealist humor of those shows to the world of Looney Tunes, which comes across as a fantastic way of updating the humor of classic cartoons without forgetting what made those original shorts special.

From the very first scene, in which we learn how Daffy Duck and Porky Pig were raised by a loving farmer named Jim (who is drawn in a hyper-realistic style that resembles a Norman Rockwell painting and is barely animated at all), it becomes clear that this will be a completely unserious, and utterly hilarious, animated comedy. Farmer Jim alone makes the movie worth watching, a brilliant joke straight out of "Ren & Stimpy" but with a uniquely Looney Tunes heart, and the jokes only stack up from there. In a way, this movie is like the animated cousin of "The Naked Gun," only with fewer puns and way more visual jokes, where the entire art style or even the aspect ratio change. Every detail, every change in animation and art style is in service of a gag, and the result is one of the funniest movies of the year. (Rafael Motamayor)

Disney probably didn't need to make a sequel to the 2003 version of "Freaky Friday," but thankfully, the one we got is a hell of a fun time. Jamie Lee Curtis and Lindsay Lohan return in "Freakier Friday," reprising their roles as Tess and Anna Coleman over 20 years later. The mother-daughter adventure in body swapping fundamentally changed how the two of them view the world, but Anna's soon-to-be blended family is facing serious challenges as her daughter Harper (Julia Butters) and fiancé's daughter Lily (Sophia Hammons) despised each other long before the parents started dating.

Fearful of repeating the turmoil of 2003, Tess, Anna, Harper, and Lily find themselves all switching bodies ahead of Anna's wedding, inspiring Harper and Lily to use this opportunity to reverse-"Parent Trap" and get them to break up for good. Unlike many of the legacyquels cranked out in recent years, "Freakier Friday" is genuinely funny, due in large part to the electric comedic chemistry of Curtis and Lohan. Instead of tacking on references to the first film for cheap "newstalgia" bait, the themes, characters, and connections are thoughtfully incorporated into the story, a testament to screenwriter Jordan Weiss' clear adoration for the original film. It's a frothy, fun time and loaded with moments that will surely be memed for the next 20 years like the original. (BJ Colangelo)

I need to be incredibly transparent about something, which is this: if you don't like Tim Robinson's hyper-specific brand of cringe comedy, you're not going to like "Friendship." If you, like me, are a huge fan of Robinson and his previous projects, like "Detroiters" and his Emmy-winning sketch series "I Think You Should Leave," this movie is going to make you so delighted you might end up squealing and kicking your heels. Written and directed by frequent Robinson collaborator Andrew DeYoung, "Friendship" casts Robinson as Craig Waterman, a guy who buys all his clothes from a company named "Ocean View Dining" and says stuff like, "There's a new Marvel out that's supposed to be nuts." When charismatic local weatherman Austin Carmichael (a perfectly deployed Paul Rudd) moves in down the street from Craig, the two become friends pretty quickly, but when Craig dramatically misbehaves in front of Austin's friends, it all falls apart.

As Craig grows more and more desperate to win Austin back, he strands his long-suffering wife Tami (a weirdly but perfectly cast Kate Mara) in the sewers, has a breakdown at work, gets fired, and accidentally steals a handgun from Austin's house, among other things. Without DeYoung and Robinson's shared sense of humor, "Friendship" would be a genuinely disturbing treatise on the state of male friendship in 2025; it's not not that when all is said and done, but it's also one of the funniest movies of the year. It also should win a special award from somebody for the best product placement in movie history, courtesy of Subway. (Nina Starner)

Horror and comedy are two of the hardest genres to nail. Mixed together? A great horror/comedy is tough to come by. "Hell of a Summer," directed by "Stranger Things" star Finn Wolfhard and his creative partner Billy Bryk, may only be a paint-by-numbers campside slasher flick, but it's a damn funny one. For someone looking for a thrillfest with some laughs, this might disappoint. For horror fans who happen to be more in the mood for a laugh, this is a real winner, and one of the more underseen genre offerings from 2025.

The film centers on aging camp counselor Jason Hochberg (Fred Hechinger), who arrives at Camp Pineway, feeling out of touch with his teenage co-workers. When a masked killer arrives on the campgrounds, brutally picking counselors off one by one, relating to his co-workers becomes the least of his problems.

Scared, horny, modern teenagers throwing barbs at one another, all while getting chased around by a masked killer. It's loaded down with hilarious little quips, great visual gags, and a lot of reverence for the well-trodden summer camp slasher sub-genre. It sort of scratches a "Friday the 13th" itch but more than anything, once we settle in with these characters, it becomes genuinely, laugh-out-loud funny. It's silly as hell, borderline slapsticky at times. It plays lovingly with the tropes of the genre while feeling like an earnest look at young people, made by young people. Not just an older filmmaker's interpretation of what young people should be. There's an authenticity to it, despite its heightened tone. For those who can embrace the movie's simplistic slasher charms, it's just a plain ol', good time. (Ryan Scott).

On paper, a movie about a new couple's weekend getaway turning sour when the man tells the woman he's not looking for a relationship, and the woman refuses to unchain him from their bondage play the night before, leading to discussions of how to erase the man's memory or even do away with him, doesn't exactly sound like a laugh riot. Fortunately, "Oh, Hi!" is not some run of the mill thriller, but is instead one of the most delightful comedies of 2025. Writer/director Sophie Brooks takes this outlandish premise and spins comedy gold out of it, blending the best of farce with the vibe of edgy indie comedy movies of the '90s and '00s. "Oh, Hi!" never gets too dark, but it cleverly allows the threat of disaster to hover over everything, a tone that Brooks establishes right from the beginning and masterfully maintains throughout the film.

Naturally, the movie wouldn't be as uproarious without its cast, as Gerladine Viswanathan, Logan Lerman, and scene stealer John Reynolds make the most of their material. Yet "Oh, Hi!" really belongs to Molly Gordon, who is not only the lead but also co-wrote the film's story with Brooks. Gordon has been an indie comedy darling for the last six-odd years, turning heads and getting belly laughs in films like "Booksmart," "Shiva Baby," and the woefully underseen "Theater Camp." "Oh, Hi!" is a perfect showcase for Gordon's range as a performer, as she makes Iris a blend of Teri Garr and Kathy Bates in "Misery." Additionally, "Oh, Hi!" is one of the sharpest satires of the modern dating scene, an anti-rom-com which looks back with a sardonic chuckle more than with anger, acknowledging that both men and women could stand to work on their communication as well as themselves. (Bill Bria)

Reviving of the most beloved comedy franchises of all time is a tall order. Thankfully, director Akiva Shaffer ("Hot Rod," "Popstar: Never Stop Never Stopping") knew exactly how to handle bringing back "The Naked Gun" for the 21st century without losing what made the original cop comedy spoof so great to begin with. Plus, he also managed to infuse it with just the right amount of contemporary touches, both comedically and in the movie's action franchise-inspired beats.

Liam Neeson leads the charge this time as Frank Drebin Jr., son of Leslie Nielsen's original "Police Squad" character, and he's playing this just as serious as he would in one of his many action thrillers, which is exactly what makes the surrounding stupidity that much funnier. Coming along with him without missing a beat is Pamela Anderson, stretching a new muscle as a funny femme fatale who brings just the right amount of sultry and silliness without overplaying her hand.

From slapstick falls, endless coffee cups, and sneaky background visual gags to jokes about "Buffy the Vampire Slayer" episodes on TiVo and a snowman filled with jealous, murderous rage, this movie packs an unbelievable amount of jokes into its breezy runtime, making for one of the most fiercely funny comedies we've gotten in a long time. Hopefully the movie's moderate success at the box office will inspire studios to get comedies back into theaters. (Ethan Anderton)

Once upon a time in showbiz history, comedy duos used to be a huge deal. We had Laurel & Hardy, Abbot & Costello, Cheech & Chong, Danson & Mandel, and took them all for granted. There were a few terrific comedy duos in the 2000s, but the idea of building a series of movies around two perfectly matched performers seems to have fallen out of fashion. I've no theory as to why the duo formula lost its juice, but I do know that the team of producer Issa Rae, writer Syreeta Singleton and director Lawrence Lamont are sitting on a potential goldmine with Keke Palmer and SZA after the surprise box office success of "One of Them Days."

If you've been to Los Angeles' Baldwin Village, it's exhilarating to see the neighborhood portrayed as a rich, vibrant community that isn't overrun with gang bangers, á la "Training Day." Palmer's Dreux and SZA's Alyssa may be furiously treading water to keep from getting evicted on the first of the month by their unforgiving landlord (Rizi Timane), but they're ambitious and savvy as hell in a pinch — which is where Alyssa has placed them by entrusting her layabout boyfriend (Joshua Neal) with their rent money. He's blown the cash, and now they've got to hustle to keep a crumbling ceiling over their head. 

"One of Them Days" is basically a collection of set pieces, some of which are funnier than others. But even when the movie hits a lull, you've got Palmer and SZA to keep you company. And when the movie draws to an upbeat close, all you want is to see these characters get in trouble again, or failing that, at least see these two performers to re-team in another comedy. There's undeniable magic here, and it's too potent to be a one-off affair. (Jeremy Smith)

"And then it all went down the drain" is an efficient premise for any aspiring black comedy. Jay Roach's "The Roses" takes this ball and runs with it by reimagining Danny DeVito's 1989 classic marriage wrecking ball "The War of the Roses" — both movies being adaptations of the 1981 "The War of the Roses" book by Warren Adler — into a modernized and slightly gentler version.

As Roach told /Film in an exclusive interview, the big difference between the two films is that "The Roses" wants you to root for Theo (Benedict Cumberbatch) and Ivy Rose (Olivia Colman) to sort out their petty nonsense and get back together, Meanwhile, the 1989 film depicts Oliver (Michael Douglas) and Barbara Rose (Kathleen Turner) as legitimately hostile and even bloodthirsty. It's up to the viewer which version works better, but judging by its own merits, "The Roses" is a good and occasionally very dark comedy.

Cumberbatch and Colman bring a mirthful chemistry that works at all stages of their turbulent relationship, and talented supporting actors like Kate McKinnon, Ncuti Gatwa, Alison Janney, and Andy Samberg add their own flavor in the mix. "The Roses" might lack some of the poison its predecessor revels in, but it makes up for this with its depiction of the characters navigating the absurdities of the increasingly difficult situation. (Pauli Poisuo)

"Sister Midnight" is the best vampire horror-comedy since "What We Do in the Shadows." If you've never heard of it, that's probably because it was tripped up by its own marketing – specifically, the decision to omit any mention of vampires. Perhaps it was considered a spoiler, though in the movie itself it feels less like a big twist and more like a gradual unfolding of the strange and absurd. And I'm happy to spoil it if it'll convince more people to see one of 2025's most underseen movies.

Directed by Karan Kandhari, "Sister Midnight" stars Radhika Apte as Uma, an angry misfit whose lack of appeal as a marriage prospect has led to her being paired off with the equally undesirable Gopal (Ashok Pathak). The newlywed "village idiots" get set up in a tiny one-room shack in Mumbai, but the honeymoon phase fails to materialize. Gopal spends the day working or drinking and only goes back home to sleep. They barely speak, and certainly don't have sex. Uma fails to transform into a domestic goddess; instead, to her mild surprise, she transforms into a vampire.

This is not only one of the funniest movies of the year, but also one of the weirdest and most chaotic. "Sister Midnight" takes so many sharp turns that it's impossible to predict where the story's going to take you next. It's one hell of a fun ride. (Hannah Shaw-Williams)

Let's admit it: "Spinal Tap II: The End Continues" is nowhere near as inspired as the original, and it's unlikely to earn England's loudest and most punctual band any new fans. There are also times when it feels like it would be better as a featurette on the latest Blu-Ray edition of Rob Reiner's cult classic than a theatrical release. But for those who have been hooked since the events of the hapless rockers' "Smell the Glove" tour, this belated legacy sequel is an unmissable catch-up with old friends.

And when I say old, I do mean old. Seeing David St. Hubbins (Michael McKean), Nigel Tufnel (Christopher Guest), and Derek Smalls (Harry Shearer) all look their age and reunited over four decades later adds an element of poignancy to the usual improvised wordplay and farcical situations. Make no mistake, this is a movie that unapologetically harks back to an earlier, wilder, and more analogue era of music, and it's unlikely that we'll see these venerable comedy legends complete a "Spinal Tap" trilogy.

But let's not put too much f***ing perspective on things, because "Spinal Tap II" is still a very funny film, the central trio still deadpanning ridiculous lines like it's 1984. Reiner (also returning as his on-screen counterpart, Marty Di Bergi) doesn't overdo the nostalgia but includes crowd-pleasing renditions of "Big Bottom" and "Stonehenge" along with lesser-known tracks from Tap's lengthy career. Slower-paced than the original, it's a hangout movie that give us time to appreciate the fact that not only are these guys really good at making great lines up on the spot, they're also accomplished musicians who are deeply committed to the bit. Overall, a fitting send off for these dinosaurs of rock. (Lee Adams)

You haven't seen one of the year's best comedies until you've witnessed Kyle Marvin desperately trying (and failing) to hold onto ten bags of goldfish on a roller coaster.

Michael Angelo Covino's "Splitsville" is an incredibly funny screwball comedy about the glaring miscommunication between two very messy couples and the ways in which they only bring about their troubles on themselves. On one end is Carey (Kyle Marvin) and Ashely (Adria Arjona) heading straight for divorce, while their friends Paul (Michael Angelo Covino) and Julie (Dakota Johnson) have just opened their relationship. Even though you can already see the writing on the wall, the Covino and Martin-penned screenplay is so sharp in presenting their relationship conflicts in a way that manages to feel fresh.

"Splitsville" also thrives by way of Covino knowing how to properly block a scene to utilize its utmost comedic potential. The film opens on a real high note with a sight gag-heavy sequence involving a car accident, a dead body, and an exposed penis getting caught in a zipper. Paul and Julie's young son Russ (Simon Webster) is the kind of kid who listens to death metal for comfort and just can't stop stealing other people's jet skis.

The comedic centerpiece, however, is a hilariously prolonged fight sequence that not only had me in tears from its sheer escalation of fight tactics and creative staging. Not to mention that Covino and Marvin's tussle puts a large swath of this year's action movies to shame. It all works because "Splitsville" exists in this space where the jokes are often surreal exaggerations, yet they're often grounded by the emotional center of these self-sabotaging characters. (Quinn Bilodeau)

The world of Macon's Blair's "The Toxic Avenger" is gross, cartoonish, and completely believable. The film takes place in St. Roma's Village, New Jersey (the word "Tromaville" is embedded in the name), a city overrun by filth, disease and poverty. Most of the damage is being done by the ultra-wealthy pharmaceutical company BTH, whose tendency to pollute the environment and underpay its employees is ravaging the minds and bodies of the populace. Winston Gooze (Peter Dinklage), a janitor at BTH, is dying of cancer, and desperately needs his company to pay for his healthcare, or he'll leave his stepson with nothing. Much of "The Toxic Avenger" is a relatable tragedy about the plight of the modern working parent. The fact that it's an over-the-top, ultra-violent farce doesn't deaden the satire.

Wintson will, of course, be exposed to mutagenic waste chemicals and emerge as the Toxic Avenger (Luisa Guerreiro), a green-skinned vigilante with super strength, acidic urine, and a mop capable of decapitations. The wild makeup and crazed tone of Blair's film is more akin to a Madballs commercial than a superhero flick, and that only works in its favor. It's wild and slimy while also being salient and thoughtful. Add to that a rap-metal band of assassins called the Killer Nutz, and Elijah Wood as a Riff-Raff-like toadie, and you have a weird comedy classic for weird people. It's hard to pull off this kind of sick/cartoonish tone, and "The Toxic Avenger" pulls it off with clunky ease. Oh yes, and Kevin Bacon, as always, gives a wholly committed performance as an evil CEO. (Witney Seibold)

It's a pretty dire time for LGBTQ+ folks in America, and many of us could use a movie that feels like a big, warm hug. Thankfully, that movie is Andrew Ahn's "The Wedding Banquet," a remake of the beloved 1993 film of the same name by Ang Lee. "The Wedding Banquet" stars Kelly Marie Tran and Lily Gladstone as the world's cutest lesbian couple, Angela and Lee, who are trying to get Lee pregnant via in vitro fertilization (IVF), and Bowen Yang and Han Gi-chan as Chris and Min, their gay male best friends who live in their garage. When Min's visa is about to expire and Lee's second round of IVF doesn't take, the duo hatch a plan where the wealthy Min will pay for a third and final round of IVF if Angela will marry him so he can stay in the country. This all seems a little complicated but well and fine until Min's grandmother arrives from South Korea, eager for the fake couple to have a very real, traditional Korean wedding.

"The Wedding Banquet" is a lovely comedy of errors with a gigantic heart and a truly fantastic ensemble cast, and while it occasionally fumbles the tone a bit when it veers into dramedy, it manages to stick the landing and ends in the right spirit. For some pure queer joy starring some truly beautiful people, look no further than "The Wedding Banquet." (Danielle Ryan)