The 20 Best Romantic Comedies on Netflix

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The 20 Best Romantic Comedies on Netflix

Netflix has begun producing its own original romantic comedies and continues to acquire its share of others. So if you’re going to #netflixandchill with that special someone or just dream about someone with whom you can snuggle up on the couch and watch movies, then these 20 rom-coms are ready and waiting for you. They’ll make you laugh, might make you tear up, and will certainly have you rooting for love to win the day in its epic, underdog struggle with loneliness and disconnection. From classic ’80s romantic comedies to brand-new spins on a genre as old as film, from Hollywood to Bollywood, there’s something here for every taste. Budding relationships will be in jeopardy due to unfortunate miscommunication. The hearts of many former bland/cheating/douchebag boyfriends/fiancés will be broken. And there will be mad dashes to the airport. Are you prepared? Pick a movie, make some popcorn, pour a cheap glass of wine and grab the Kleenexes.

Here are the 20 best romantic comedies on Netflix:

1. She’s Gotta Have It

shes gotta have it poster.jpg Year: 1986
Director: Spike Lee
Stars: Tracy Camila Johns, Spike Lee, John Canada Terrell, Tommy Redmond Hicks
Rating: R
Runtime: 85 minutes

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An explosively frank feature debut that immediately announced Lee’s brave, fresh new voice in American cinema, She’s Gotta Have It, shot like a documentary, is a levelheaded exploration of a young black woman named Nola (Tracy Camilla Johns) trying to decide between her three male lovers, while also flirting with her apparent bisexuality, in order to, first and foremost, figure out what makes her happy. What’s refreshing about the film is that Lee always brings up the possibility that “none of the above” is a perfectly viable answer for both Nola and for single women—a game changer in 1986. The DIY indie grainy black-and-white cinematography boosts the film’s in-your-face realism. —Oktay Ege Kozak


2. Always Be My Maybe

always-be-my-maybe-210.jpg Year: 2019
Director: Nahnatchka Khan
Stars: Ali Wong, Randall Park, Keanu Reeves, Michelle Buteau, Vivian Bang, Karan Soni
Rating: PG-13
Runtime: 102 minutes

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A film written by and starring Ali Wong and Randall Park was always guaranteed to be a home run, but the endlessly funny and charming Always Be My Maybe truly exceeds all romcom expectations. The duo (who penned the script with Michael Golamco) play childhood friends who lose touch after an impulsive teenage romance ends badly. From there, Wong’s Sasha becomes a celebrity chef as Park’s Marcus continues to live at home and work for his father’s blue collar business after his mother’s tragic passing. They each have things to learn from one another, sure, but Always Be My Maybe doesn’t just end when romance blossoms; it leans into the complications of two adults with independent lives choosing to be together and figuring out how to make it all work. Part of that, crucially, includes both Marcus and Sasha playing supportive roles in one another’s careers rather than compromising and giving up their passions to be together. Director Nahnatchka Khan keeps the stylish film moving at a pleasant comedic clip throughout, and there’s a killer cameo appearance you will not want spoiled before you see the movie. Seriously, you should watch it right now. —Allison Keene


3. The Incredible Jessica James

incredible jessica james movie poster.jpg Year: 2017
Director: Jim Strouse
Stars: Jessica Williams, LaKeith Stanfield, Noël Wells, Taliyah Whitaker
Rating: NR
Runtime: 85 minutes

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Jessica Williams plays Jessica James, a twenty-something theatre fanatic who’s trying to get one of her plays produced while simultaneously dealing with a breakup. The ex? Damon, played by the equally wonderful Lakeith Stanfield (Atlanta, Short Term 12), who can’t manage to stay out of Jessica’s dreams. When she meets a new fling, played by the comically refreshing Chris O’Dowd, she begins to re-evaluate her love life while clinging to her life goals. When do you know you’ve made it? As lighthearted as the film can be, it’s rooted in an exploration of the deeper questions that any artist, or person for that matter, grapples with. Williams is hilarious, which we all know from her time on The Daily Show. She’s also incredibly powerful, showcasing a feminine strength that’s so crucial to this generation and a passion for her craft that’s the opposite of the indifference often associated with millennials. The film is perfect for a popcorn and beer night with the gals and guys. —Meredith Alloway


4. The Artist

the-artist.jpg Year: 2011
Director: Michel Hazanavicius
Stars: Jean Dujardin, Bérénice Bejo, John Goodman
Rating: PG-13
Runtime: 100 minutes

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In his black-and-white ode to the Golden Age of Hollywood, Gallic writer-director Michael Hazanavicius honors form as well as content, packaging his romantic melodrama about the rise of a new ingénue and the fall of a silent movie star in 1920s and ’30s Los Angeles in luxurious black, white, and shades of shimmering silver. It’s a beautiful, ambitious, nostalgic endeavor that demonstrates its makers are, indeed, artists. —Annlee Ellingson


5. To All the Boys I’ve Loved Before

to-all-the-boys-ive-loved-before-poster.jpg Year: 2018
Director: Susan Johnson
Stars: Lana Condor, Noah Centineo, Janel Parrish
Rating: NR
Runtime: 100 minutes

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To All the Boys I’ve Loved Before, the teen scene’s newest runaway hit, is a flat-out excellent film. It is not excellent “for a teen flick.” It is not excellent “for a romantic comedy.” It is excellent for a film. TATBILB fully inverts the 80/20 ratio: Within the first 20 minutes, all five of the deeply private love letters our daydreamy, emotionally buttoned-up protagonist Lara Jean (Lana Condor) has written to her childhood crushes over the years have been stolen and mailed out—including the one to her neighbor and best friend, Josh (Israel Broussard), who just happens to also be her older sister’s just barely ex-boyfriend. This swift puncturing of any protracted emotional dishonesty Lara Jean might have hoped to indulge in, well, forever, leaves the film’s final eighty minutes free for her to embrace some really radical emotional honesty. That TATBILB allows Lara Jean to accomplish this not in spite of but through the fanfic-favorite trope of “fake dating” another, less-risky letter recipient (Noah Centineo’s ridiculously charming Peter Kavinsky) is a story strength. Of course, all the emotional honesty in the world wouldn’t matter if TATBILB’s leads didn’t burn with chemistry. Fortunately, Lana Condor and Noah Centineo can get it. Condor and Centineo are undeniably the stars of the show, but TATBILB doesn’t rest on their charismatic laurels: Mahoro as Lucas is a foxy ball of friendliness; Madeleine Arthur as Lara Jean’s best (girl) friend, Chris, is just the wide-eyed punk weirdo she needs to be; Janel Parrish plays against type as the sweet and steel-spined Margot; Anna Cathcart steals every scene as Lara Jean’s meddling little sis, Kitty; and John Corbett plays the healthily engaged version of Kat Stratford’s single OBGYN dad with a discernible glee. The importance of Lara Jean and her sisters being half-Korean, and the majority of the cast (along with Mahoro) non-white, is hard to overstate, but it isn’t the most impressive thing about the cast by a long shot. In a genre that can so often see its characters lean too far into caricature, Lara Jean’s world is instead populated with teens—and through them, love—you can believe in. —Alexis Gunderson


6. The Half of It

half-of-it.jpg Year: 2020
Director: Alice Wu
Stars: Leah Lewis, Daniel Diemer, Alexxis Lemire
Rating: NR

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Netflix’s The Half of It begins somewhat deceptively, with a highly stylized animated retelling of an old Greek myth in which the four-armed, four-legged, two-headed humans of ancient times are sundered by the gods and wander about forever in search of the other half of their single heart. It ends with a scene between a boy and a girl, something that normally would come right out of a dopey rom-com, but in a way that subverts the trope on every level, from the inversion of its meaning to the quiet, intimate naturalism with which it is filmed. It’s a fitting juxtaposition because the film sandwiched between the two moments is about the fallacies that drive our neat and tidy narratives about love. Love is messy is the point, one called out aloud by main character Ellie Chu (Leah Lewis) in Alice Wu’s short little film about a Chinese-American high schooler whose incredible writing skills find her hired to help her classmate, the kindhearted but far less charming Paul (Daniel Diemer), woo another girl. Paul does not realize that Ellie shares his unrequited desire for Aster (Alexxis Lemire), and that every sweet late-night text and smoldering note passed in class is tearing Ellie apart. If the story borrows its central conceit from Cyrano de Bergerac, it at least puts a few interesting spins on it: Ellie is an outsider in unique ways. She is the only Asian student at her school, an immigrant whose underemployed and linguistically challenged father struggles to run her household. She is the student who is so good at writing that she runs a side hustle writing papers for her entire class. And then there’s the other little matter of her feeling same-sex attraction in a stiflingly small, overwhelmingly Christian town. It’s a unique twist on a familiar story in a film that universalizes feelings of otherness for the audience, whether they come from being the runt of the litter or the child of an immigrant struggling to make it in America. —Kenneth Lowe


7. Silver Linings Playbook

silver-linings-playbook.jpg Year: 2012
Director: David O. Russell
Stars: Bradley Cooper, Jennifer Lawrence, Robert De Niro
Rating: R
Runtime: 122 minutes

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With leads as winning as Bradley Cooper and Jennifer Lawrence, aas well as David O. Russell’s signature mix of clever and sincere dialogue, the hook is set. Every single detail doesn’t gel—Chris Tucker’s role as Danny, Pat Jr’s escape-prone friend from the treatment facility, seems a bit extraneous—but it doesn’t need to. By the end of the dance competition finale (yeah, there’s that), the audience, actors and director are on exactly the same page in Russell’s playbook. —Michael Burgin


8. As Good as It Gets

as-good-as.jpg Year: 1997
Director: James L. Brooks
Stars: Jack Nicholson, Helen Hunt, Greg Kinnear
Rating: PG-13
Runtime: 139 minutes

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Jack Nicholson is not exactly the first person who comes to mind when you think romantic leading man. Certainly, when we first meet Melvin Udall, the mean-tempered, OCD-afflicted curmudgeon at the center of James L. Brooks’ As Good As It Gets, it’s clear he’s no Tom Hanks. That is, until he is one day forced to take care of his neighbor’s dog. This event serves as the catalyst for a poignant Scrooge-like transformation: More in touch with his feelings, Melvin soon grows close to the single-mother/waitress (Helen Hunt) at his favorite restaurant and, in the end, overcomes his self-centeredness and lets her know how highly he thinks of her. Cheesy? Yes. But damn if it doesn’t work. —Mark Rozeman


9. Zindagi Na Milegi Dobara

zindagi.jpg Year: 2011
Director: Zoya Akhtar
Stars: Hrithik Roshan, Abhay Deol, Farhan Akhtar
Rating: TV-14
Runtime: 154 minutes

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Cashing in on quarter-life anxiety and existential crises, Zindagi Na Milegi Dobara is Bollywood’s Euro Trip, except with more heart and fewer dick jokes. Three childhood friends go on a transformational bachelor party/road trip in Spain where they immediately butt heads over the lives they’ve separately built. Arjun (Hrithik Roshan) is a workaholic who can’t chill, Imran (Farhan Akhtar) is a copywriter who had an affair with Arjun’s ex-girlfriend, and Kabir (Abhay Deol) is a groom-to-be second-guessing his decisions. The three reconnect over a series of extreme events—ranging from skydiving to a run with the bulls in Pamplona—and they ultimately return to their old lives completely changed. Zindagi Na Milegi Dobara literally means “You won’t get this life again,” aptly infusing a feeling of urgency into an otherwise standard coming-of-age story. Through humor and drama alike, Akhtar’s film will make you want to call your friends and plan your own life-altering getaway. —Radhika Menon


10. Serendipity

serendipity.jpg Year: 2001
Director: Peter Chelsom
Stars: John Cusack, Kate Beckinsale, Molly Shannon
Rating: PG-13
Runtime: 90 minutes

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Not exactly a heavy-hitter, Serendipity plays with an idea many of us find very seductive: The notion that there is someone out there who’s perfect for you and fate will see to it that you find each other. This seldom happens in real life, so we love it when it happens in movies. John Cusack and Kate Beckinsale play strangers who are inescapably drawn to each other, but after a brief tryst go back to their own lives—except their own lives just seem to have something incalculably missing. The plot’s beyond predictable, but projecting brooding romantic hero depth even in the total absence of script assistance is John Cusack’s superpower. Somehow that, plus great Valentine-to-New-York settings, plus putting Jeremy Piven to especially helpful use, combined with a core idea that just seems fundamentally resonant to a lot of humans—well, it just works, even if there are no surprises to be found in this thing at all. —Amy Glynn


11. Blue Jay

BEST-ROMANTIC-MOVIES-NETFLIX-blue-jay.jpg Year: 2016
Director: Alex Lehmann
Stars: Sarah Paulson, Mark Duplass, Clu Gulager
Rotten Tomatoes Score: 90%
Rating: NR
Runtime: 85 minutes

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Sarah Paulson is one of the most vital actors working today, and at this particular moment she’s damn close to ubiquitous; here she shows up as one of two leads in newcomer Alex Lehmann’s lovely romantic comedy Blue Jay, a compact and unassuming film about big, life-changing things that’s presented in a beautiful monochrome package. Think of it as a palate cleanser for Paulson after a year spent maneuvering productions of grander scope and ambition. But scale and quality exist in two separate zip codes, and what Blue Jay lacks in import it makes up for with effervescence and melancholy. As though to put Paulson’s luminous talents to the test, Lehmann has cast her alongside Mark Duplass, a man primarily known for making tons of low-fi mutter-fests and whose range allows him comfortably to play himself. Paulson and Duplass make such a great pair that the film’s relative nothingness is pleasurable rather than painful. Blue Jay only clocks in at about an hour and twenty minutes (less, counting the credits scrawl), so it should breeze along by its very nature, but it feels like it only runs about half as long as that. It’s well crafted, well mannered and very well acted, though you may decide for yourself if all credit should go to Paulson. She draws out Duplass’ best merits as an actor, much as Amanda draws out the best in Jim: The more the film progresses, the brighter and more enthusiastic Duplass becomes, relishing every second he gets to be on screen with her. Their chemistry is palpable. —Andy Crump


12. Lust Stories

lust-stories.jpg Year: 2018
Directors: Anurag Kashyap, Zoya Akhtar, Dibakar Banerjee, Karan Johar
Stars: Vicky Kaushal, Bhumi Pednekar, Radhika Apte
Rating: TV-MA
Runtime: 120 minutes

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An anthology film from four of India’s most prominent directors, Lust Stories explores the themes of sex and attraction in its many forms, and places them in modern-day India where these types of conversations don’t normally occur so openly. Each director’s short film focuses on a stigma—whether it’s a possessive relationship between a teacher and student, a forbidden tryst between members of two different social classes, an adulterous marriage, or an exploration of sexual satisfaction—and dives deep into the various perspectives at play. The format makes Lust Stories easily digestible, and the films themselves are excellent slices of progression within the industry and culture at large. That it premiered as a Netflix original is just another hat tip to the dynamism of the decade’s art. —Radhika Menon


13. Win It All

win-it-all.jpg Year: 2017
Director: Joe Swanberg
Stars: Jake Johnson, Aislinn Derbez, Joe Lo Truglio, Keegan-Michael Key, Nicky Excitement
Rating: NR
Runtime: 90 minutes

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Joe Swanberg, bless his unfailing tenacity, appears to get behind the camera and hope everything works out for the best. His style is chancy, but it’s hard not to admire his unabashed love of spontaneity. This is especially true when it does work out for the best, as it does in Win it All. Swanberg co-wrote the film with your underachieving dream boyfriend, New Girl’s Jake Johnson, ostensibly a direct result of their actor-director collaborations in Drinking Buddies and Digging for Fire; Johnson, perhaps unsurprisingly, is the star here, too, playing that aforementioned scruffy gambler, Eddie, a career loser who takes any wager-earning gig he can get by day before flinging his earnings down the crapper playing games of chance at incalculably grimy casinos by night. There is, in grand Swanberg tradition, a looseness to Win it All that remains for the duration of the film, hanging off of Johnson’s central performance. Whether because of his contributions on the page or on the screen, Johnson feels like a key component to Win it All’s success as a narrative: The story hangs off of him, off of his work, his emoting, the physical quality to his self-presentation before a lens. It means a lot that Swanberg and Johnson both care on a profoundly human level for Eddie. Who couldn’t? You probably have an Eddie figure in your life, whether you know it or not: The gregarious, amiable rascal, the kind of dude who just can’t slam the brakes when he’s careening toward trouble, and knows it. He’s a lovable schmuck, his own worst enemy. The people in his life care about him, his creators care about him, and so of course we care about him, too, even at his worst, even as he invites troubles and hazards into his life against all fair warnings given him by his support system. Win it All, in other words, is a Joe Swanberg movie, a domestically-focused tale about a slacker in conflict with his demons washed in the texture of 1960s and 1970s cinema. —Andy Crump.


14. Dil Chahta Hai

dil-chahta.jpg Year: 2001
Director: Farhan Akhtar
Stars: Aamir Khan, Saif Ali Khan, Akshaye Khanna
Rating: TV-14
Runtime: 184 minutes

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A story of youngsters finding themselves, Dil Chahta Hai set the stage for many contemporary Bollywood films when it premiered at the start of the decade. The film is an exploration of mid-20s angst and unrest, of following unconventional desires, of finding happiness amidst the madness. Sameer (Saif Ali Khan) chases a girl out of his league; Siddharth (Akshaye Khanna) lusts after an older divorcee; Akash (Aamir Khan) tries to reconnect with someone from his past. Their decisions test each other and themselves, and cause rifts in their seemingly unbreakable friendship. Dil Chahta Hai is about the bonds of friendship, and just how far they can be stretched. —Radhika Menon


15. White Christmas

white-christmas.jpg Year: 1954
Director: Michael Curtiz
Stars: Bing Crosby, Danny Kaye, Rosemary Clooney
Rating: TV-G
Runtime: 120 minutes

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For generations, this movie has held a kind of Yuletide nostalgia rivaled maybe only by It’s a Wonderful Life. But the funny thing about this Bing Crosby musical is that the warm feelings it still evokes today are mirrored in its own narrative: The war is over, their commanding officer (a “four-star general unemployed”) can’t make a living at the ski lodge, because even snow doesn’t fall the way it used to. But when the stage doors open at the end to reveal the swirling flakes, all the soldiers salute, leaving even us southerners yearning for a snow-laden Christmas. —Mary Kate Varnau


16. The DUFF

the-duff.jpg Year: 2015
Director: Ari Sandel
Stars: Mae Whitman, Robbie Amell, Allison Janney, Bella Thorne, Bianca Santos, Skyler Samuels, Ken Jeong, Romany Malco
Rating: PG-13
Runtime: 101 minutes

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The DUFF opens with a John Hughes reference. Protagonist and resident DUFF Bianca Piper (Mae Whitman) explains that times have changed since The Breakfast Club—now the jocks take antidepressants and the brains rule the world. Her observation immediately clues the audience in to the fact that Bianca is a student of Hughes; she correlates his stories to those she observes on a daily basis. The interesting thing is that John Hughes would be proud to call Bianca his student. She’s a funny, fully realized, self-aware womean who holds her movie on her shoulders. At the center of the film’s charm is Mae Whitman. Bianca is best friends with Casey and Jess (Bianca Santos and Skyler Samuels), two girls who everyone agrees are much hotter and less approachable than Bianca. When Bianca’s neighbor, mega-jock Wesley Rush (Robbie Amell), informs her that she is the DUFF—the Designated Ugly Fat Friend—of her trio of friends, Bianca is devastated. Wesley explains that the DUFF needn’t be ugly or fat; rather, a good DUFF serves as a gateway to his or her hotter friends—the person to go to for information on said hotties. Bianca then decides to unfriend Casey and Jess, turning to Wesley for advice on how to be more alluring to men and less of a DUFF. In exchange, she will help him pass chemistry, as his football scholarship hangs in the balance. As you can probably imagine, Wesley and Bianca initially hate one another, but soon something deeper begins to blossom, much to the chagrin of Wesley’s ex, Madison (Bella Thorne), who happens to be the most popular girl in school. Yes, the plot of The DUFF is relatively familiar and predictable. Even though The DUFF offers up teen comedy plot points in abundance (Makeover montage! Nice guy who turns out to be horrible! Evil popular girl who gets what is coming to her!), it still wins as a teen comedy because it really cares about its lead characters. Mae Whitman is primarily to thank—her performance makes Bianca feel like someone we all know, because that someone is us. Bianca endures some blowing crushes to her self-esteem throughout the course of the movie, which makes her triumphant realization that everyone is a DUFF all the more rewarding in the end. —Andy Herren


17. Don Jon

don-jon.jpg Year: 2013
Director: Joseph Gordon-Levitt
Stars: Joseph Gordon-Levitt, Scarlett Johansson, Julianne Moore, Tony Danza, Brie Larson
Rating: R
Runtime: 85 minutes

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Joseph Gordon-Levitt makes an assured debut as a writer-director with Don Jon, a cultural critique of the expectations placed on relationships in an environment saturated with media misrepresentations of both women and men. It’s a comedy ostensibly about porn, but that’s really just the skin Gordon-Levitt puts on his examination of modern love, the hook that belies his trenchant commentary on how we objectify—instead of connect with—the opposite sex. Gordon-Levitt also stars as the titular Romeo, a sexy Jersey boy who brings home a different girl every weekend. He loves his bros and he loves his family, and he goes to church every Sunday, followed by a workout where he recites the Hail Marys he’s been assigned in confession in lieu of counting out reps. Gordon-Levitt is irresistible in the role, adopting the Situation’s swagger on-screen, donning it like a uniform before he joins his boys at the club. Don’s also addicted to porn, though the “A” word isn’t emphasized, if used at all. In his aggressive, aptly applied voiceover, he explains the appeal of pictures and video over the real thing in a way that almost makes sense. Which isn’t to say pornography is romanticized here—it’s not. In fact, it’s really rather ugly. Don’s streak with the ladies ends when he meets Barbara Sugarman (an alluring, gum-smacking Scarlett Johansson), a sexy Jersey girl who has her own screwed-up sense of what love should look like based on movies—not porn, but the romantic comedies she adores. She wants to meets his friends and family, for example—and see him enroll in night school—before she’ll get in the sack. And pornography? That’s a deal-breaker. Gordon-Levitt goes in a refreshingly unexpected direction with this setup—one that won’t be spoiled here. But he lays clues along the way that hint at what really will turn Don’s life around—even if he doesn’t know he needs it. —Annlee Ellingson


18. Cloudburst

cloudburst.jpg Year: 2011
Director: Thom Fitzgerald
Stars: Olympia Dukakis, Brenda Fricker, Ryan Doucette
Rating: TV-MA
Runtime: 93 minutes

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In the oddly raunchy and thoroughly satisfying septuagenarian lesbian road film Cloudburst, Oscar winners Olympia Dukakis and Brenda Fricker star as Stella and Dot, a lesbian couple who have spent the last 30 years living the classically Sapphic good life on the rugged coast of Maine. After Dot gets put into a nursing home by her uptight granddaughter, her lover breaks her out and instead takes her on a road trip, promising, “We’ll drive to Canada and then we can get legally married and no one can separate us.” The film suffers moments of significant clumsiness, including distractingly sitcomy one-liners. But the open road serves as a brilliant palette for writer-director Thom Fitzgerald to take scenic advantage of rolling hills and ocean. Nature itself becomes a key character in the film. The titular cloudburst, which drenches Stella and Dot in a moment of deep love and devotion to one another, serves as a sort of simultaneous protagonist and antagonist, celebrating and troubling the lovers at the same time. At its best, the film provides a venue for two revered talents to thoroughly buck the stereotypical roles available for older actresses and showcase the nuance and verve of their craft. —Nick Mattos


19. Someone Great

someone-great-210.jpg Year: 2019
Director: Jennifer Kaytin Robinson
Stars: Gina Rodriguez, Brittany Snow, DeWanda Wise
Rating: R
Runtime: 92 minutes

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Netflix’s Someone Great plays out like the visual version of Lorde’s “Supercut.” The song, which is also cleverly placed in the film and promptly re-entered the U.S. iTunes charts last weekend following its release, recounts a magical relationship after the breakup. But instead of surveying the wreckage, Lorde presses play on the good times. “All the moments I play in the dark / Wild and fluorescent, come home to my heart,” she sings. Someone Great’s Jenny (played by Gina Rodriguez, world’s most likeable actress) finds herself in a similar situation. After landing her dream music writing job with Rolling Stone, she and her boyfriend of nine years, Nate (acted by a very hunky LaKeith Stanfield), call it quits, fearing they won’t survive a long-distance relationship split between New York City and Jenny’s future home, San Francisco. The pulsing pop tune from Lorde’s 2017 album Melodrama plays while a literal “Supercut” of Jenny’s and Nate’s relationship flashes before our eyes—Instagram posts, Facebook messages, texts, emails and exchanges with Jenny’s two best friends, Blair (Brittany Snow) and Erin (DeWanda Wise) serve as an intro to a film about reminiscing, reconnecting with friends and, ultimately, moving forward on your own. Rodriguez is, as always, loveable as hell. Wise gives an endearing performance as the romantically hesitant Erin, and the two women, along with Snow, master a refreshing version of the romantic comedy in which female friendship, not just love interests, serves as a plot centerpiece. And as much as I enjoyed watching an R-rated New York City spree complete with foul language, bathroom sex, fierce friendship and joints the size of baseball bats, Someone Great is most memorable for its music. A mixtape of indie stalwarts, pop bliss and Big Freedia, the soundtrack is heaps of fun, deeply meaningful and the most realistic aspect of the film—except maybe the girls’ struggle to get spots on the guest list. That battle is all too real. —Ellen Johnson


20. Set It Up

set-it-up-movie-poster.jpg Year: 2018
Director: Claire Scanlon
Stars: Zoey Deutch, Glen Powell, Lucy Liu, Taye Diggs, Pete Davidson, Tituss Burgess
Rating: NR
Runtime: 105 minutes

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One can never have enough Zoey Deutch in their moviegoing diet. She’s a treasure, multi-layered, ever hilarious. Want her to throw snark at you? Want her to project confidence without haughtiness? Want her to pull off “awkward with a side of charming” without tipping the scale too much in one direction or the other? She can do all of that. If you have room for just one Deutch movie this month, go for The Year of Spectacular Men, but if your schedule’s open, fit in Claire Scanlon’s Set It Up, a delightful, zippy, corny-and-loving it rom-com about beleaguered office assistant Harper (Deutch) teaming up with as-beleaguered office assistant Charlie (Glen Powell) to get their horrible bosses (respectively, Lucy Liu and Taye Diggs) into bed with one another. Maybe they’re horrible only because they’re undersexed; maybe they’re just horrible. Set It Up isn’t exactly a hard read in that regard (or any, really), but it’s a hoot all the way through, and Scanlon’s smart to hang the film on Deutch and Powell’s chemistry. —Andy Crump