Slapstick Movies
If you think physical comedy is a lost art, think again—slapstick movies are experiencing a thrilling renaissance that proves pratfalls, sight gags, and exaggerated physical humor never go out of style. Recent years have delivered an impressive lineup of films that honor the timeless tradition of comedy legends while pushing boundaries with contemporary sensibilities and modern filmmaking techniques. Whether you're craving nostalgic franchises that return with their signature brand of chaos, fresh takes on beloved comedic characters, or entirely new adventures packed with visual gags and comedic stunts, today's slapstick offerings have something for every fan of laugh-out-loud physical comedy. These recent releases prove that you don't need sophisticated wordplay when a well-timed tumble, an absurd chase sequence, or perfectly orchestrated cartoon violence can deliver belly laughs that transcend language and cultural barriers. From family-friendly romps to wilder adult-oriented comedies, the best slapstick movies from the last five years demonstrate that physical humor remains one of cinema's most universally entertaining genres, capable of making audiences roar with laughter just as effectively today as it did a century ago.
Liam Neeson steps into the role of Detective Frank Drebin Jr. in this reimagining of the beloved comedy franchise, bringing his deadpan sensibilities to a character originally made famous by Leslie Nielsen. Directed by Akiva Schaffer, the film follows Drebin as he investigates a conspiracy threatening Los Angeles while navigating the absurdities of modern police work. While it doesn't quite reach the manic heights of the original trilogy, this version delivers enough sight gags, wordplay, and slapstick humor to satisfy fans of the genre. Neeson proves surprisingly adept at physical comedy, and the supporting cast helps elevate familiar joke structures with fresh energy. It's a respectable continuation that honors the spirit of its predecessors while finding its own comedic rhythm.
At its heart, this is a story about preserving joy and creativity in an increasingly corporatized world, as the beloved Muppets fight to save their theatrical legacy from developers who want to demolish their historic theater. Director Taika Waititi brings his signature blend of whimsy and sincerity to the fabric-and-felt icons, crafting a film that honors the Muppets' anarchic spirit while updating the humor for contemporary audiences. Kermit, Miss Piggy, Fozzie, and the gang are joined by an eclectic human cast including Aubrey Plaza and Pedro Pascal, who embrace the absurdity with infectious enthusiasm. The musical numbers are genuinely delightful, the jokes fly fast enough that even the ones that miss don't slow the momentum, and there's a warmth to the proceedings that feels increasingly rare in big-studio family entertainment. Waititi understands that the Muppets work best when the chaos feels just barely controlled, and he lets his performers—both puppet and human—find that sweet spot with evident affection for the source material.
This legacy sequel brings back the ghost with the most for another round of afterlife shenanigans, recapturing much of the original's irreverent spirit while updating the effects for modern audiences. Director Tim Burton returns to familiar territory as the Deetz family—now including Winona Ryder's grown-up Lydia and her daughter Astrid (Jenna Ortega)—once again encounters the mischievous demon Betelgeuse (Michael Keaton, clearly having a blast). The plot involves multiple storylines including Betelgeuse's vengeful ex-wife (Monica Bellucci) and a new romance for Lydia, not all of which receive equal development. Burton's visual imagination remains intact, with practical effects and his signature gothic aesthetic providing plenty of eye candy even when the script feels overstuffed. Keaton slips back into the role effortlessly, and the supporting cast including Catherine O'Hara and Willem Dafoe add welcome energy. It's an entertaining if somewhat uneven return that fans of the original should find satisfying enough.
Warmth and humor radiate throughout this romantic comedy that finds genuine sweetness in the chaos surrounding nuptial celebrations. Director weaves together the stories of family members, friends, and wedding planners as they navigate the days leading up to the big event, with all the mishaps, revelations, and reconciliations such occasions inspire. The ensemble cast develops natural chemistry that makes even familiar relationship dynamics feel fresh, while the script balances laugh-out-loud comedy with earned emotional moments. What could have been a formulaic affair instead becomes a charming celebration of love in its many forms—romantic, familial, and platonic. The film doesn't reinvent the wedding comedy genre, but it executes the formula with enough wit and heart to feel genuinely engaging rather than merely competent. Strong performances across the board and a script that trusts its audience to appreciate character over contrivance make this a delightful choice for anyone seeking an uplifting, feel-good watch.
Director Akay Mason brings infectious energy to this comedy that showcases Funke Akindele reprising her beloved character Jenifa with charm and impeccable comic timing. The film captures the character's journey through a series of misadventures that blend physical comedy with sharp social observations about modern Nigerian life. Mason's direction maintains a brisk pace while giving the ensemble cast room to shine in their supporting roles, creating a world that feels both heightened and grounded. The script cleverly updates Jenifa's struggles for contemporary audiences while retaining the qualities that made the character a cultural touchstone. The production values are polished, with colorful cinematography that matches the film's buoyant spirit. While the plot occasionally leans on convenient resolutions, Akindele's charismatic performance and the film's genuine affection for its characters make this an enjoyable crowd-pleaser that delivers consistent laughs and heart.
Adam Sandler returns as Happy Gilmore in this long-awaited sequel that finds the now-aging hockey-player-turned-golf-pro facing new challenges both on and off the course several decades after his unlikely championship victory. Director Kyle Newacheck navigates the tricky territory of legacy sequels with reasonable success, bringing back familiar faces while introducing new characters and conflicts that justify revisiting this world. Sandler slips back into the role comfortably, though the film acknowledges the passage of time and the character's evolution rather than simply reheating the original's formula. The comedy lands often enough, mixing callbacks to the beloved original with updated humor that mostly avoids feeling too desperate or pandering. While it can't capture the lightning-in-a-bottle surprise of the 1996 film and occasionally relies too heavily on nostalgia rather than fresh ideas, there's enough genuine affection for these characters and sporadic laughs to make this a serviceable return. It's comfort food cinema—you know exactly what you're getting, and if you're a fan of the original, you'll likely find enough here to enjoy.
This unconventional action film explores themes of revenge, identity, and the cyclical nature of violence through an intentionally fragmented narrative structure. Director Takeshi Kitano crafts something genuinely strange here, following multiple iterations of similar characters through scenarios that blur the line between reality and metaphor. The plot involves yakuza conflicts and betrayals, but the film is less interested in straightforward storytelling than in examining how violence perpetuates itself across generations and situations. Jimmy Wang Yu appears alongside newer talent in a cast that spans different eras of action cinema. Kitano's experimental approach—featuring deliberately artificial sets, abrupt tonal shifts, and recursive storytelling—creates a disorienting viewing experience that won't work for everyone. The action sequences are staged with both brutality and a certain dark absurdism. While the film's aggressive stylization and narrative puzzles can feel frustrating, there's ambition in its attempt to deconstruct genre conventions and explore deeper philosophical questions about fate and free will within the yakuza framework.
On a private island during a billionaire's wedding, Nick and Audrey Spitz (Adam Sandler and Jennifer Aniston) find themselves investigating another murder that threatens to ruin their newly established detective agency. Director Jeremy Garelick returns the couple to the scene of their accidental sleuthing from the first film, this time with professional stakes and slightly more experience. The European locations provide visual appeal as the couple navigates a series of kidnappings, betrayals, and impossible situations while trying to maintain their marriage and their business. Sandler and Aniston continue to have an easy chemistry that makes their bickering feel affectionate rather than mean-spirited, which is essential for making the formula work. The mystery itself is serviceable rather than ingenious, with enough twists to keep things moving but nothing that will genuinely surprise seasoned mystery fans. The supporting cast, including Mark Strong and Mélanie Laurent, seem to be enjoying themselves in roles that don't demand too much. It's pleasant enough entertainment that delivers exactly what fans of the first film would expect—nothing more, nothing less.
Jason Momoa leads this adaptation of the beloved sandbox video game as Garrett "The Garbage Man" Garrison, joined by Jack Black, Emma Myers, and Danielle Brooks in a story that brings the blocky digital world to life. Directed by Jared Hess, the film follows four misfits who are pulled through a mysterious portal into the Overworld, where they must embark on a quest to save this strange cube-shaped realm from destruction. While the transition from game to screen doesn't always feel seamless, there's genuine charm in watching the cast navigate familiar Minecraft elements like crafting, building, and surviving the night. The visual effects blend live-action performances with the game's distinctive aesthetic in ways that mostly work, and the humor lands often enough to keep things entertaining. It's a decent family adventure that fans of the game will appreciate, even if it doesn't quite reach blockbuster heights.
Paul Feig directs this high-concept action comedy set in a near-future Los Angeles where a deadly lottery requires winners to survive until sundown to claim their prize. Awkwafina stars as a woman who unexpectedly wins billions and must flee increasingly violent hunters seeking to claim the bounty themselves, with John Cena playing a former lottery protection agent who becomes her unlikely ally. The premise offers opportunities for both satire about economic desperation and elaborate action sequences, and Feig delivers some entertaining set pieces that showcase his knack for choreographing comedy within chaos. Awkwafina's improvisational energy and Cena's self-aware physical comedy create decent chemistry, even when the script's jokes don't always land. The world-building feels underdeveloped, leaving questions about how society reached this dystopian point, and the social commentary remains surface-level. Still, the film moves briskly enough and provides sufficient laughs and thrills for undemanding viewers. It's neither particularly memorable nor offensively bad—just a moderately amusing diversion that delivers roughly what its premise promises.
In this comedy from the Broken Lizard troupe, the hunchbacked bell-ringer of Notre Dame becomes embroiled in Renaissance-era intrigue involving the Pope, the King of France, and various bodily function jokes. Steve Lemme stars as Quasi, the titular hunchback reimagined as a hapless everyman caught between powerful figures using him for their own ends, with Kevin Heffernan as both King Guy and the Pope in dual roles that showcase the film's commitment to absurdist humor over historical accuracy. The team's signature low-brow comedy style—think Super Troopers set in medieval France—yields sporadic laughs but also extended stretches where the anachronisms and gross-out gags feel more labored than inspired. Adrianne Palicki provides some spark as Quasi's love interest, though the romantic subplot never quite gels with the broader slapstick. For fans of Broken Lizard's particular brand of comedy, there's enough of their established voice to provide entertainment, but this ranks among their lesser efforts, neither offensive enough to shock nor clever enough to sustain its premise. The period trappings ultimately feel like window dressing for comedy that could have been set anywhere.
In this film, a group of eccentric characters converges on a crumbling English estate where secrets, misunderstandings, and awkward encounters ensue. Director Tom George assembles a capable ensemble cast for what aims to be a comedy of manners with contemporary sensibilities, though the execution doesn't always match the ambition. The script has moments of clever wordplay and situational humor, but the pacing feels uneven, with some sequences dragging while others rush through potentially interesting character dynamics. The performances range from charmingly committed to somewhat adrift, suggesting uncertainty about the film's precise tone. The production design makes good use of the location, creating a suitably shabby-genteel atmosphere. While it doesn't fully come together as either sharp satire or warm-hearted comedy, there's enough here to provide modest entertainment for viewers seeking something offbeat and distinctly British in its humor.
When a mute outsider is mistaken for a famous method actor and thrust into Hollywood stardom, the ensuing chaos explores fame's emptiness and the entertainment industry's shallow machinery—though the execution never quite matches the satirical potential. Writer-director Charlie Day casts himself in a supporting role while Ken Jeong plays the protagonist, a mentally impaired man who becomes an unwitting movie star through a series of misunderstandings and exploitations by those around him. The film aims for a blend of Chaplin-esque pathos and contemporary Hollywood satire, but struggles to find a consistent tone, veering awkwardly between slapstick comedy and darker commentary on exploitation. Some individual scenes generate genuine laughs, and the supporting cast—including Kate Beckinsale, Adrien Brody, and Ray Liotta in one of his final roles—commit fully to the absurdist premise. However, the narrative meanders without building meaningful momentum, and the film's treatment of its protagonist's disability sometimes feels uncomfortable rather than insightful. There are glimpses of the sharper satire this could have been, but they're buried beneath uneven pacing and underdeveloped ideas.
When a group of suburban retirees become obsessed with competitive pickleball, their friendly games escalate into bitter rivalries in this sports comedy that doesn't quite know what it wants to be. The premise has potential—there's definitely comedy to be mined from the surprisingly cutthroat world of recreational sports—but the execution feels uneven throughout. Director Sarah Martinez assembles a capable cast who do their best with material that veers awkwardly between broad slapstick and attempted heartfelt moments about aging and friendship. Some sequences genuinely land, particularly when the film leans into the absurdity of treating pickleball with life-or-death seriousness, but too often it falls back on predictable jokes about older adults and technology. The film works best when it simply lets the characters play and interact naturally, suggesting a better movie might have emerged from a more focused approach to either the comedy or the drama.
The Wayans Brothers return to the horror-comedy franchise they created over two decades ago, bringing their signature brand of irreverent parody back for a new generation. Marlon and Shawn Wayans direct and star in this latest installment that takes aim at recent horror hits and contemporary culture with mixed results. The film works best when it commits to absurdist visual gags and physical comedy, delivering several genuine laughs amid the inevitable misfires. Some references feel dated by the time the movie reaches theaters, and not every joke lands with the impact intended. The supporting cast does their best with material that varies wildly in quality from scene to scene. Fans who loved the original films will find moments that recapture that anarchic energy, though the comedy landscape has changed considerably since 2000. It's an uneven but occasionally funny return to form that probably won't win many new converts to the series.
In this comedy, a group of amateur criminals attempts to profit from the epidemic of package theft, only to stumble into increasingly absurd complications. The premise has potential—porch piracy is a relatable modern frustration ripe for satirical treatment—but director Colin Cravens struggles to find a consistent tone or rhythm. The script feels underdeveloped, relying on repetitive gags rather than building momentum or character development. The cast tries gamely to sell the material, but they're hampered by dialogue that mistakes volume for humor and situations that never quite click. Technical aspects are functional but uninspired, with flat cinematography that does nothing to enhance the comedy. There are occasional moments where a sharper joke lands, suggesting what the film might have been with another pass at the script. Unfortunately, these glimpses of competence only highlight how much of the runtime feels like filler. For a comedy about theft, it ironically wastes the most valuable commodity—the viewer's time.