The 70 Best Indie Comedy Movies

Directed by Taika Waititi, who also gave us Boy (2010) and co-produced What We Do in the Shadows (2014), Hunt for the Wilderpeople is the quirky and magical buddy movie you want if you’re in need of an antidote to a bad day or a steady diet of sad movies.

It tells the off-kilter adventure story of misfit, rap-loving city kid Ricky Baker and his crusty and cantankerous foster parent ‘Uncle’ Hec, played by Sam Neill. ‘Very bad egg’ Ricky has been bounced out of more foster families than he cares to remember and is given one last chance of living with a couple out on a farm in rural New Zealand. After tragedy strikes early in the film, the unlikely pair gets lost in the wilderness and becomes subject to a nationwide manhunt.

Full of dead-pan humor and warm-hearted mockery, this audience favorite fuses visual gags delivered by a charming cast with sweeping shots of spectacular scenery!

Dorky kid Greg Gaines (played by the brilliant and unlikely named Thomas Mann) has severe issues with closeness (he calls his best friend a “co-worker”) and is instructed by his mother to befriend Rachel (Olivia Cooke), a girl recently diagnosed with cancer. Far from being an indie tear-jerker, though, “this isn’t a touching romantic story”, as Greg’s narration reminds us. This is not least to the quirky nature of the film and the third titular character Earl, Greg’s closest co-worker, who acts as the moral glue between Greg and Rachel.

In addition to hilarious writing and amazing performances, the film is laced with pop-cultural references by way of the movies that Greg and his Earl shoot in their spare time – spoofy takes on cult movies with titles like Sockwork Orange. Moving without being melodramatic, Me and Earl and the Dying Girl is a charmingly off-kilter fish-out-of-water plot about making friends, dealing with death, and enjoying life best as one can.

Former activists Ben Cash (Viggo Mortensen) and his wife Leslie drop out from modern consumerist society to raise their six children in the wilderness of the Pacific Northwest. They teach them how to raise and kill their own food, to survive in nature through boot-camp-like workouts, and homeschool them in literature, music, and left-wing philosophy. Instead of Christmas, they celebrate Noam Chomsky’s birthday. Then, one day, this unusual family life is shaken by a phone call and they are forced to leave their life of adventure to reintegrate into American life.

Directed by Matt Ross, who also brought you Good Night, and Good Luck, the film offers a poignant look at alternative living, the effects of modern technology, and the nature of good parenting. Viggo Mortensen is indeed fantastic as the grizzled father and was rightly nominated for a Golden Globe and the Academy Award for Best Actor. George MacKay and the entire cast of “children” also deliver terrific performances. As emotionally raw and thought-provoking as it is funny, Captain Fantastic will have the viewer decide if Ben Cash is the best father in the world or the worst.

It might seem like a no-brainer that trying to make a comedy movie featuring a character with cancer is not a great idea. And while there may be a good share of failed attempts in that category, 50/50 is not one of them. And then it might come as a surprise that this subtle attempt at cancer comedy comes courtesy of Superbad creators Seth Rogen and Evan Goldberg. It also stars indie cutie Joseph Gordon-Levitt as the young and fit Adam Lerner, who works as a writer for public radio before learning that he has malignant tumors all along his spine. Between his overbearing mum (Anjelica Huston), slightly obnoxious but good-hearted bestie (Seth Rogen), self-help groups, and his therapist (played by Anna Kendrick), he struggles to find a way of acquiescing to his 50/50 chance of survival. Similarly, 50/50 strikes a delicate balance between the bromance gags, the date-movie elements, and the grave subject matter at its heart. It manages to mine humor, pathos, and simple honesty from a dark situation, and is not afraid to “go there”. The result is truly compassionate comedy.

Sit back, relax, and wait for the feels. With amazing performances from an ensemble cast, including Julianne Moore, Mark Ruffalo, and Annette Bening, as well as excellent directing; The Kids Are Alright is a highly realistic yet entertaining take on families, growing up as children, and growing as parents. Moore and Bening play a gay LA couple, whose two kids meet their biological father, a goofy, laid-back sperm donor, portrayed perfectly by Ruffalo. Nominated for four Oscars and awarded with two Golden Globes, The Kids Are Alright is an arresting, authentic, and astute indie comedy-drama, and a pleasure to watch. Director Lisa Cholodenko and her talented cast have really created something special here!

Directed and co-written by Craig Johnson (who made The Adolescents with Mark Duplass), The Skeleton Twins is a beautiful piece of drama, dealing with some dark themes. It does so with surprising success, given that the two main actors are seasoned comedians with little to no experience in the genre. And yet, it is precisely the two leads that turn this bleak comedy-drama into a somber, haunting, but beautiful watch. Bill Hader is amazing as the depressed and suicidal gay man, Milo, who is reunited with his estranged twin Maggie (Kristen Wiig) after a series of unfortunate events. Their attempts at repairing their fractured relationship also forces them to confront the trajectory of their own lives, while they rediscover their erstwhile childhood friendship and long-lost camaraderie. Again, don’t expect a traditional comedy, but an honest display of the complexities of sibling relationships, mental health, and how conflict, compassion, and understanding fit into it all.

When we think of biopics, we think of underdogs overcoming all odds just through the magnetic power of one’s voice or mastery of their instrument, with the accolades a natural reward for all they’ve been through. Kneecap is not that. The biopic about the titular Belfast hip hop act acknowledges the Troubles, but right off the bat, they would rather tackle that through the actual music. With a low budget, Kneecap dresses themselves in neon tracksuits, reliving their beginnings with stylized camera movements, scribbled out lyrics and action lines, and an impeccable energetic score sync from their usual music video director Rich Peppiatt. It’s an exciting new portrait of the band and Ireland today.

Goon is funny, violent, and sweet as hell. You’ll be surprised by how nasty it is but at the same time you won’t care. What you will want to do, on the other hand, is rip through the screen, and hug the main character. It is also a great example of a feel-good movie that isn’t solely focused on being a feel-good movie. It’s also great love story, with all its absurdities and highly emotional load. The story shines a light on the players who join hockey teams not for the game but for the fights that may erupt. They are called goons. Doug Glatt (Seann William Scott) is a new goon and this movie is his journey towards success both on the ice and off.

Adam Sandler, though currently imminently marketable, incredibly played out and boring, used to be a real actor. This is the film by which his legacy will be judged, where we see the funnyman drop the mask and actually show real feelings besides bumbling rage. Sandler’s hurt and confused performance is beautifully vulnerable and true and is complimented by P.T. Anderson’s incomparable direction (the man behind Boogie Nights and There Will Be Blood), creating a true masterpiece of American cinema. This beauty also stars Philip Seymour Hoffman and Emily Watson.

Of all the Christmas-set films to have come out over the last couple of months that were, inexplicably, about grief and regret (you’d be surprised by how many there are), The Holdovers easily outdoes its contemporaries by being confident enough to just sit with its characters. Like the best of director Alexander Payne’s other films, there are no melodramatic crescendos or overcomplicated metaphors; there are only flawed individuals going about their lives, occasionally noticing the things that bind them together. Payne’s gentle touch means the characters (and the audience) aren’t forced to “solve” their grief, but allowed to come to terms with it in their own way, with each other.

Payne evokes the film’s 1970s setting through a muted color palette and analog—almost tactile—sound design, giving warmth to this New England despite all its snow and chilly interiors. It’s understandable that these characters are similarly cold to each other on the surface at first, but they manage to thaw the ice simply by taking the chance to listen to each other’s pain. It’s the kind of film in which relationships develop so gradually, that you hardly notice until the end how much mutual respect has formed between them when they return from their dark nights of the soul back to their status quo.