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10 Netflix comedies for when you want to shut off your brain

There’s no need to think (Picture: Rex/Shutterstock)
Intelligent, thought-provoking, tough-tackling ..

10 Netflix comedies for when you want to shut off your brain
There’s no need to think (Picture: Rex/Shutterstock)

Intelligent, thought-provoking, tough-tackling cinema is great and all that.

Sometimes though, particularly after a hard day at the office, all you want to do is slump on the sofa, eat a tub of Haagen-Dazs and watch something that requires no brain power whatsoever.

10 films with the most confusing plots you can watch on Netflix right now

And where better to choose from than Netflix’s array of unashamedly silly comedies designed solely to make you laugh until your sides hurt.

Here’s a look at ten of the best available on the streaming service.


Who knew that the gruff-voiced hard-as-nails no-nonsense action hero that is Jason Statham could actually be funny?

The brooding Brit steals the show from more familiar comedic talents Melissa McCarthy and Miranda Hart in this hugely enjoyable secret-agent spoof.

Wet Hot American Summer

Despite starring a who’s-who of future A-listers including Amy Poehler, Bradley Cooper and Elizabeth Banks, Wet Hot American Summer bombed at the box office when it was released back in 2001.

But the parody of 1980s summer camp movies deservedly went on to achieve cult status, and earn two Netflix spin-offs, thanks to its surreal mix of madcap characters, deliberately overblown melodrama and talking vegetable cans.

Harold And Kumar Get The Munchies

Stoner comedies often appear to be much more fun to make than to actually watch, but Harold and Kumar’s first big-screen adventure is one of the few exceptions to the rule.

John Cho and Kal Penn both share a great chemistry as the two weed obsessives who embark on a Herculean quest in search of the perfect fast food, while Neil Patrick Harris brilliantly subverts his Doogie Howser persona as a drug-addled hitchhiker.

Jackass Presents: Bad Grandpa

If you’re looking for a comedy that will give you the most bang for your buck, then Jackass Presents: Bad Grandpa should do the trick.

The Jackass franchise looked to have been dead and buried before an unrecognisable Johnny Knoxville revived it for this hilarious and unexpectedly blend of road movie, family comedy and candid camera.


There are currently three movies on Netflix from parody master Mel Brooks, but Spaceballs is perhaps just ever so slightly goofier than Robin Hood: Men In Tights and Young Frankenstein.

Starring Brooks, John Candy, Rick Moranis and Bill Pullman, this send-up of the Star Wars franchise was deemed to have missed the boat on its 1987 release but, thanks to the enduring power of Han Solo and co, has since become far more relevant.

Beavis And Butt-Head Do America

Now 21 years old, the first and only big-screen outing for the cartoon couch potatoes is as unashamedly crude, stupid and hilarious as their MTV adventures.

Here, Beavis and Butt-Head inadvertently become embroiled in a major arms-smuggling operation when they try to retrieve their stolen TV.

Demi Moore, Bruce Willis and David Letterman are just some of the star names providing voice-overs.

Reno 911!: Miami

Released in 2007, Reno 911!: Miami saw Comedy Central’s most hilariously inept crime-fighting team make the move to the big screen with inspired results.

This time around the improvised spoof of fly-on-the-wall cop shows invites some star names to join in with all the madness, including Paul Rudd, Danny DeVito and Dwayne Johnson.

Not Another Teen Movie

Easily the best of the parodies that emerged in the wake of Scary Movie, this 2001 release sends up the ridiculousness of the teen movie genre.

She’s All That, Bring It On, Pretty In Pink and Varsity Blues are just some of the films that get it in the neck, with the spoof of the latter’s whipped cream scene featuring a then-unknown Chris Evans a particular highlight.

Bill And Ted’s Bogus Journey

Alongside The Godfather: Part II, Toy Story 2 and The Dark Knight, Bill And Ted’s Bogus Journey fits into the exclusive group of sequels that are arguably better than the original.

This time around, Keanu Reeves and Alex Winter’s slackers must battle the Grim Reaper after being killed by their most non-non-heinous robot twins.

It’s a bonkers premise that allows for yet more surreal slapstick, inspired historical cameos and bodacious gags.

Wayne’s World 2

Sadly, the film that first introduced us to the catchphrases ‘Schwing,’ ‘We’re not worthy’ and ‘Not,’ and turned Queen’s Bohemian Rhapsody into the ultimate headbanging car song, is currently unavailable on Netflix.

But you can watch its almost-as-funny sequel, which sees the much-loved Wayne and Garth attempt to stage their own version of Woodstock, which, of course, is named Waynestock.

MORE: 10 things you need to watch on Netflix this December

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‘Antebellum’ has a ‘Get Out’ vibe, but doesn’t live up to its twist

“Antebellum” is built around a provocative twist, and it’s a good one — as well as one that definite..

“Antebellum” is built around a provocative twist, and it’s a good one — as well as one that definitely shouldn’t be spoiled even a little. Once that revelation is absorbed, however, the movie becomes less distinctive and inspired, reflecting an attempt to tap into the zeitgeist that made “Get Out” a breakthrough, without the same ability to pay off the premise.

Originally destined for a theatrical run, the movie hits digital platforms trumpeting a “Get Out” pedigree in its marketing campaign, since there’s an overlap among the producing teams.

More directly, the film marks the directing debut of Gerard Bush + Christopher Renz, who have championed social-justice issues through their advertising work. The opening script features a quote from author William Faulkner, whose intent will eventually become clearer: “The past is never dead. It’s not even past.”

If that sounds like a timely means of drawing a line from the horrors of slavery to the racism of today, you’ve come to the right place.

The story begins on a plantation, where the brutal overseers carry out grisly punishments against those tilling the fields. A few have just tried to escape, led by Veronica (Janelle Monae), and they pay a heavy price for their resistance, which does nothing to curb her defiance.

Also written by Bush + Renz, the script take too long before revealing what makes “Antebellum” different, but the middle portion — a “The Twilight Zone”-like phase when it’s hard to be sure exactly what’s going on — is actually the film’s strongest. (Even the trailer arguably gives away too much, so the less one knows, the better.)

The final stretch, by contrast, veers into more familiar thriller territory, and feels especially rushed toward the end, leaving behind a host of nagging, unanswered questions. That provides food for thought, but it’s also what separates the movie from something like “Get Out,” which deftly fleshed out its horror underpinnings.

Although the filmmakers (in a taped message) expressed disappointment that the movie wasn’t making its debut in theaters, in a strange way, the on-demand format somewhat works in its favor. In the press notes, Bush says the goal was “to force the audience to look at the real-life horror of racism through the lens of film horror. We’re landing in the middle of the very conversations that we hoped ‘Antebellum’ would spur.”

“Antebellum” should add to that discussion, so mission accomplished on that level. Monae is also quite good in her first leading film role (she did previously star in the series “Homecoming’s” second season), but otherwise, most of the characters remain underdeveloped.
In a theater, the tendency with a movie so dependent on a central mystery might be to become antsy. At home, “Antebellum” is worth seeing, not only because of what it has to say about America’s past and present, but as a reminder of the often yawning gap between an intriguing idea and a fully realized film.

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‘Chemical Hearts’ director Richard Tanne on the film’s ‘bittersweet’ ending and what he hopes fans take away from the movie

“Chemical Hearts” director Richard Tanne spoke to Insider about the film’s “bittersweet” ending and ..

“Chemical Hearts” director Richard Tanne spoke to Insider about the film’s “bittersweet” ending and what he hopes fans take away from it.

“I think it’s gonna disappoint some people, and maybe all people on a certain level, ” the 35-year-old filmmaker told us. “It’s bittersweet. But that’s OK.”

The film, based on Krystal Sutherland’s 2016 book “Our Chemical Hearts” and now available to stream on Amazon Prime Video, centers on 17-year-old high school senior Henry Page (Austin Abrams), who finds himself drawn to a mysterious and secretive new transfer student named Grace Town (Lili Reinhart).

“Chemical Hearts” is told from Henry’s perspective, chronicling his first heartbreak after he falls in love with the person he thinks Grace is.

Tanne, who wrote the screenplay, said that he was impressed by how the story goes ‘a little bit deeper than your average teen romance’

“I loved how it embraced the dark side of being young, the pain and the grief and the loss, the idea of crossing the threshold from being an adolescent to an adult for the first time,” he told us.

By the end of the movie, Henry learns about Grace’s tragic past. On their last day of senior year, the characters don’t end up together. Instead, they prepare to explore different futures, with Henry heading off to a school for writing and Grace taking a year off to continue therapy.

Even though fans might be disappointed by the love interests splitting, Tanne said that ‘not everything has to be escapist’

“Sometimes, younger people watching movies don’t know that it’s OK to have unhappy endings because they’re fed a steady stream, a steady diet of escapist happily ever after movies,” he told us. “And that’s OK.”

He added: “There’s a place for those, I’m not knocking them. But I just wanted to make something that didn’t talk down to the younger audience. I wanted to make something that either meets them at their level or asks them to reach a little bit higher or dig a little bit deeper.”

Tanne said that having to confront that ‘bittersweet ending’ could also be useful to viewers

The director described the conclusion as bittersweet because “there’s hope at the end, maybe not for their relationship, but for other aspects of their lives.”

“Maybe it will be helpful for young people to see that and walk away with the same sting that Henry has, but to know that it’s going to be OK, to know that Henry will be OK,” he said.

Abrams, who was 22 when he filmed the movie, told Insider that hopefully, audiences will empathize with Henry.

“I think in terms of I supposed how he’s navigating relationships, I feel like hopefully at least anyone can relate to that,” he said.

Abrams told Insider that Henry and Grace’s relationship status at the end speaks to the film’s realistic nature

Abrams shared similar sentiments as Tanne, telling us that they tried to “portray the characters as honestly as possible,” which ties in to the conclusion.

“I think there are some people that meet one person and that’s who they’re with for the rest of their lives, who actually are Henry’s parents in the movie,” the 23-year-old actor told us.

“But then there are other people, and I think it’s probably a larger number, that are going to be in multiple relationships and some of them, a lot of them aren’t going to go well. I hope that that’s an aspect of the movie that people are able to relate to.”

Abrams added that he’s “perfectly fine” letting fans decide for themselves what their main takeaways are from “Chemical Hearts.”

“I hope that maybe they take away things that I didn’t even think of, because everyone’s different and at a different point in their life and hopefully will be able to relate to it in different ways.”

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Julia Sawalha furious after being told she is ‘too old’

Julia Sawalha has said she has been “plucked, stuffed and roasted” after being told that she would n..

Julia Sawalha has said she has been “plucked, stuffed and roasted” after being told that she would not be cast in the forthcoming sequel to the hit Aardman Animation film Chicken Run as her voice sounded “too old”.

In the original film, released in 2000, Sawalha voiced the lead role of Ginger, the plucky hen who inspires her fellow egg-layers to escape from a farm when they are threatened with being turned into pies. News of the development of a sequel first emerged in 2018, and Netflixs involvement was announced in June. It is due to be directed by Sam Fell (ParaNorman) and start production in 2021.

Sawalha posted a statement on social media saying she was told a week ago that she was not wanted for the sequel. “The reason they gave is that my voice now sounds too old and they want a younger actress to reprise the role.”

She added: “Usually in these circumstances, an actress would be given the chance to do a voice test in order to determine the suitability of their pitch and tone, I however was not given this opportunity. I am passionate about my work and I dont go down without a fight, so I did my own voice test at home and sent it to the producers … However, they stated, We will be going ahead to recast the voice of Ginger.”

Sawalhas protest follows reports that Mel Gibson, who voiced the character of daredevil rooster Rocky, would not be involved in the sequel. While Rocky is named as a character in the official plot synopsis for Chicken Run 2, the role is due to be recast. Variety magazine reported that Gibson was told that as “the sequel will revolve around younger chickens, therefore casting younger voice actors” was necessary. The report also claimed that Gibsons history of controversial behaviour, including an accusation of antisemitic comments by actor Winona Ryder, which Gibson denies, played no part in the recasting.

Sawalha added: “I feel I have been fobbed off with the same excuse … To say I am devastated and furious would be an understatement. I feel totally powerless.”

No official announcements have been made for the Chicken Run 2 cast, but original film cast members Jane Horrocks and Lynn Ferguson have been added to the films IMDb page.

Aardman has been contacted for a response.


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