The answer to any question that basically asks “why don’t they make great (x movie type) anymore” is that they do. You just aren’t looking hard enough.
But romantic comedies are a bit different, in that you have to ask when they were last really ‘alive’? Maybe in the 80s when Woody Allen was giving us Annie Hall level brilliance every year?
Certainly in the 30s/40s/50s when they were all the rage in the studio system. But since then they have always been a genre that, while giving us plenty of admirable efforts, is mostly trash. There is more Kissing Booth’s than Scott Pilgrim’s.
But that doesn’t mean there haven’t been some lovely examples of RomComs in the past couple years, in fact I can think of five that I would highly recommend.
Ride Your Wave (Yuasa; 2019)
Idiosyncratic anime filmmaker Masaaki Yuasa is by a wide margin the most creative man regularly working in the RomCom category. He’s an anime director who is expanding the art of the RomCom to levels not seen since Edgar Wright got his hands on Scott Pilgrim.
Ride Your Wave takes most of its comedy from being a genre satire. It ostensibly wears its heart of its sleeve, but under the surface is a hilarious example of the ‘anime romance’ being taken apart and given the middle finger before your eyes.
Every single character and incident is so exaggerated and winking that it demands more thought than simply disregarding it as a poor romance. Its a loopy, subtly smart RomCom that is a fascinating step forward for Yuasa’s career.
Palm Springs (Barbakow; 2020)
This groundhog day/RomCom mashup is the film equivalent to sitting on a pool float and wasting the day away. Unabashedly and unashamedly easy, but a hell of a lot of fun.
One of 2020s best features puts two people in the time loop, for romance to naturally ensue. But it’s in the execution of that basic concept that brings the film to the top of the heap.
It’s a constantly witty script, with two amazing performances from Andy Samberg and Christin Milioti that totally invest you in their relationship. And that’s not even mentioning J.K. Simmons in a brilliant supporting role.
The Big Sick (Showalter; 2017)
Kumail Nanjiani possesses enough charm for a small country, and that glorious fact was on display for the entirety of The Big Sick. The deeply personal script revolves around one of the brightest comics working.
And what a script it is. Based on a true story, it shows how Nanjiani met his wife. It is so clear that this film just had to be made, and every single line has more heart than 12 Netflix RomComs combined.
But outside of that the film is a fascinating commentary on living in America as a Muslim. Nanjiani is unafraid to explore each and every aspect of his life, showing a vulnerability through comedy that most dramatic actors could only dream of.
This is the best RomCom of the decade that nobody would ever argue isn’t a RomCom (the next two mix genres).
Night is Short, Walk on Girl (Yuasa; 2017)
Yuasa is back again, this time with his greatest film yet. A surrealist film that brings the RomCom into the ‘one crazy night’ story structure. It follows a student who attempts to woo a perfect girl through following her and getting her a used book.
There’s also a drinking game, a porn collection, experimental musical theater, gods, giants, and an army of cowboys laying siege to a group of politicians. It gets pretty weird, but with each new totally unpredictable event the hilarity of the film simply increases.
This is only helped by the stunning, avant-garde animation. Constantly cutting in and out of narration, with a new idiosyncrasy every second that constantly keeps the viewer glued to the screen.
But what sends the film home is the message of optimism it portrays, and how it ties that into the young-love plot that allows it to form a cohesive film.
The Favourite (Lanthimos; 2018)
People will certainly argue my placement of Lanthimos’ dark masterpiece in this genre. I ask them whether it is a hilarious film based on a love triangle?
Few films have explored dynamics of power through sex quite like The Favourite does. Set in the castle of the Queen of England, it turns the decadent walls into a war zone where everyone battles for the affection of Olivia Colman’s Queen Anne.
The humor comes from how absurd it all is, the lengths these people are willing to go for her affections. It also comes from three of the best performances of the past decade, each alternating impeccable comic timing, intimidating power ploys, and a deeply pathetic meekness.
The film is twisty as hell, so without spoiling anything I will say it does becomes romantic again. Add in a plot that feels like a comedy of manners on crack cocaine and you get the best RomCom of the past five years.
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