Entertainment
The 6 Most Fun Movies Released Since 2020, Ranked
Entertainment value is a subjective quality among different audiences, and the biggest discrepancy between fans and cinephiles is what constitutes “fun.” Although the term “fun” can be used in an almost disparaging way to describe or defend lazy blockbuster or franchise films that exist only to satisfy Internet commenters, cinema was created as a form of entertainment as much as it was a form of art, and there is no shame in making something that is unabashedly entertaining. The aftermath of the COVID-19 pandemic and the consequences that it had on the global box office has ensured that pure escapism is more desired than ever before, especially when audiences are seeking escapism. Although the box office has taken some significant hits in recent years due to factors that are beyond the control of any one studio, there does seem to be a conscious desire from audiences to turn cinemagoing into a communal experience once more.
There is a difference between films that are “fun” and “funny,” as there’s entertainment value in crowd pleasers that don’t necessarily need to be treated as outright comedies; this is of course complicated by the fact that Hollywood doesn’t frequently churn out midbudget comedies anymore, as they are more common to become streaming shows. At the same time, the industry has oddly begun to treat its blockbusters less like escapist entertainment and more like important pieces of narrative franchise building. When every film is simply a building block that is intended to tease whatever comes next in a cinematic universe, it can be harder to enjoy them as individual sections. There’s no rhyme or reason that describes what a “fun” film could be, but a discerning cinephile can usually point it out when they see it.
6
‘Licorice Pizza’ (2021)
Licorice Pizza is a throwback to the San Fernando Valley-set dark comedies that Paul Thomas Anderson made early on within his career, but it’s not nearly as emotionally crushing as Boogie Nights or Magnolia. Anderson has always understood how to write irascible, energetic young people who dream farther than they can see, and Licorice Pizza is an uproarious romantic comedy that uses Los Angeles of the ‘70s as a playground to explore multiple avenues of popular culture. It’s one of the more unusual romantic comedies of the past 25 years, but it’s also one of the most honest and sincere; Anderson is unparalleled in his ability to take note of up-and-coming talent and give them opportunities, and the discovery of Cooper Hoffman and Alana Haim made Licorice Pizza far more entertaining than it would have been with two established actors cast.
Licorice Pizza plays out like a series of memories, and the segmented, free-flowing progression of events makes for a wonderful string of anecdotes that capture all the highs and lows of a single summer. Although there are a number of great cameos and brief appearances by more established names, Bradley Cooper’s role as Jon Peters is arguably the funniest that he has been since The Hangover.
5
‘Hit Man’ (2024)
Hit Man is a deviation for Richard Linklater because it was the first time he was working in the espionage dark comedy subgenre, even if it was based on a Texas Monthly article in the same way that his underrated 2011 film Bernie was. Hit Man works because it is a film about audience expectations that explores how silly the fundamentals of cinema would be if they were taken seriously; Glen Powell stars as a geeky college professor who goes undercover as various fake assassins in order to help law enforcement catch those who would hire a hit man, but he ends up getting in too deep when he falls for a woman (Adria Arjona) who wants to actually have her abusive husband killed. It’s a startling effective romantic-comedy that doubles as a subversive noir, with Arjona perfectly embodying the persona of a modern femme fatale.
Hit Man signified that Powell was a true talent on the rise who was interested in transforming himself physically in order to wear different disguises, which is something that he would do once again in Chad Powers and The Running Man. It’s nonetheless an impressive achievement on Linklater’s part that Hit Man retains the “hangout” sensibilities of his best work, all whilst taking some dark twists.
4
‘Challengers’ (2024)
Challengers exists within several genres that Hollywood has declined to thoughtfully develop in recent years, as it’s a gripping sports film, a twisty erotic thriller, and a hilarious romantic comedy about three highly motivated, competitive people who can’t help but be drawn to one another. Luca Guadagnino has certainly made films that are more existentialist and weird, but Challengers is an unabashed work of populist entertainment that features better craftsmanship than anything else this decade. Between the absorbing camerawork, the hypnotic editing, and the instantly iconic musical score, Challengers is a burst of momentum that crashes competing ambitions into one another.
Challengers is a perfect sports film that doesn’t require existing knowledge of tennis to be enjoyed, but does show enough nuance in its exploration of the sport to suggest that Guadagnino did his research. It’s also the rare love triangle film where there isn’t an obviously misplaced party in play, as there is reason to equally invest in the performances by Zendaya, Josh O’Connor, and Mike Faist.
3
‘Top Gun: Maverick’ (2022)
Top Gun: Maverick is the sequel that seemed like it would never be made because of the decades of rumors and tragic passing of original director Tony Scott, which seemed to rule out the possibility of Tom Cruise ever returning to reprise his role as Pete Mitchcell. Although it would have been very easy for Top Gun: Maverick to fall into the same trap that had doomed several other legacy sequels that essentially just played out as lazy recreations, Joseph Kosinski molded a perfect reboot because it saw Maverick transitioning into become a mentor figure to the group of young pilots, including Rooster (Miles Teller), the son of his former best friend Goose (Anthony Edwards).
Cruise proves again why he is one of the best movie stars of all-time, but Top Gun: Maverick also managed to identify some of the other rising talents out there, including Powell, Monica Barbaro, and Lewis Pullman.
2
‘Project Hail Mary’ (2026)
Project Hail Mary is a perfect modern take on the space opera adventure because it is, ironically enough, a film about humanity where the main character is isolated from the rest of Earth on a mission to deep space. Although science fiction has become a genre in which there is far more “doom and gloom” than optimism about what the future can hold, Project Hail Mary takes an appropriate approach of recognizing the problems that mankind faces and telling an inspirational story about people of different backgrounds coming together to do something for the collective good of life itself. It’s a perfect companion piece to The Martian, another film based on a sci-fi novel from author Andy Weir that was adapted by Drew Goddard. It’s one of the many recent films that truly demands the scope of IMAX projection, showing that a film of this size can still contain a tremendous amount of artistry.
The key to the success of Project Hail Mary is the sincere connection between its two leads, as Ryan Gosling makes for an empathetic, funny teacher-turned-astronaut, and James Ortiz created one of the greatest modern puppet characters with Rocky. That such a big film is staked on such a simple and sincere connection is tremendously brave, but it’s a reminder of just how sharp writer/directors Phil Lord and Chris Miller can be (and begs the question of what their version of Solo: A Star Wars Story would have looked like). Although Project Hail Mary isn’t a spoof, as it includes some deeply emotional and harrowing moments, it’s nearly impossible to get to the end of the film without breaking out into a smile.
1
‘Splitsville’ (2025)
Splitsville is one of the most audacious and uproarious original comedies of the decade because it unleashed the potential of the writer/director team of Michael Angelo Covino and Kyle Marvin, who also co-star in the film as best friends who become involved in the others’ respective spouses, played by Adria Arjona and Dakota Johnson. What begins as a hilarious look at male insecurity becomes an increasingly absurdist farce that involves sabotage, scandal, and one of the most surprisingly well-staged fight scenes there has been in a comedy film in quite some time.
Splitsville is equally sympathetic and searing with its characters, as it thoroughly understands the complexities of a longstanding relationship where certain truths become questioned. Although neither character ends up looking particularly good, Splitsville revels in the fact that the characters are sincerely emotional and not bottled up. Thanks to creative needle drops and some brilliant staging of setpieces, Splitsville is a European-styled comedy that examines the absurdity of the modern American social hierarchy.
Splitsville
- Release Date
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August 22, 2025
- Runtime
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105 minutes
- Director
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Michael Angelo Covino
- Writers
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Kyle Marvin, Michael Angelo Covino
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