A Baker’s Dozen The 13 Best Comedy Films of all time
Feb 01 '04 (Updated Mar 21 '04)
The Bottom Line If you haven’t seen all the films on this list, I envy you the discovery of any one of these comic treasures
People laugh at comedy films because we find it easier to laugh than to cry at the imprudence, confusion, absurdity, awkwardness, and naïveté of the human condition. The joke is on us, but the message is timeless -- laughter in the face of disaster and catastrophe is the ultimate affirmation of life.
Films that employ humor to illustrate the foibles of being human come in a variety of sub genres including farce, romantic comedy, screwball comedy, satire, black comedy, action comedy, spoof, teen or coming of age comedy, and slapstick. The AFI (American Film Institute) number that follows many of the titles on this list indicates the position of that film on the AFI’s list of the 100 Greatest American Comedy Films of the Twentieth Century. My (admittedly subjective) selections follow, in no particular order.
1. The Navigator (1924) AFI# 81
Buster Keaton grew up performing in Vaudeville and drifted into the burgeoning film industry as a young man. By the time he was in his mid twenties he was Hollywood’s original boy wonder -- not only directing films, but also starring in them, collaborating on the scripts, and doing his own stunts. Silent comedy stars like Roscoe “Fatty” Arbuckle, Charlie Chaplin, Harold Lloyd, and Buster Keaton used slapstick (a mixture of broad physical humor, sight gags, precise timing, exaggerated violence, and complex chase sequences) to get laughs.
In The Navigator Keaton plays Rollo Treadway, a pampered playboy who ends up adrift on a deserted ocean liner. In an early scene neither Rollo nor Betsy (his fiancé) are aware that the other is on the ship, but gradually both begin to suspect that they are not alone. This beautifully staged comedic ballet unfolds hysterically as Keaton and McGuire begin to chase each other around the ship, slowly at first and then at a more and more frenetic pace, just missing each other at every turn, until Buster falls down a ventilator pipe and lands right on top of McGuire. The huge passenger liner was a perfect slapstick setting since the boat’s gigantic scale exponentially magnifies the problems faced by Keaton and McGuire as they thrash about to accomplish even the simplest tasks.
Keaton's genius shines brightest in his exquisite sense of timing and the intricately constructed comedic “bits” that distinguish all his films. He was also known for his acrobatic artistry and physical grace, his penchant for unique settings, and his deadpan delivery. The Navigator isn’t Keaton's funniest film (that honor goes to Sherlock Jr.) but it was his personal favorite and his most successful.
2. It Happened One Night (1934) AFI# 8
After sound films made slapstick passe' in the late twenties, Screwball Comedies used witty repartee and barely concealed sexual tension to humorously exploit the battle between the sexes. Filmgoers could escape the social and economic turmoil of the Great Depression for an hour or two and laugh at the frustration of a working class Joe as he tried to explain the simple facts of life, in hard-boiled street jargon, to some pampered (and completely clueless) rich dame.
Frank Capra’s classic screwball comedy It Happened One Night is one of only three films in Hollywood history to win the Movieland Quinella---all five top Academy Awards --Best Picture, Best Director, Best Actor, Best Actress, and Best (adapted or original) Screenplay. * The film stars Claudette Colbert as Ellie Andrews a beautiful, spoiled, and rebellious rich girl who has impulsively agreed to marry a fortune-hunting playboy. Colbert’s father locks her aboard the family yacht but a defiant Colbert jumps ship and swims ashore. Colbert’s father hires private detectives to pursue her and offers a large reward for her return so she decides to take the bus from Miami to New York in order to re-join her gold digging boyfriend.
Clark Gable plays Peter Warne, a hard-drinking newspaper reporter who’s just been fired from his job. He meets Ellie at the bus station and they contentiously share a seat until Gable discovers that she is the runaway heiress everyone’s looking for and offers to make sure she gets to New York safely if she allows him to write the exclusive story of her escape, she reluctantly agrees.
Capra uses the simple premise of an unlikely couple forced to travel together to create some of the most memorable scenes in movie history including a sarcastic piece of social satire thinly disguised as a doughnut-dunking lesson and the question of just when the Walls of Jericho (the symbolic barrier between Gable and Colbert) will fall.
It Happened One Night was so influential that when Gable removed his shirt in a travel camp tourist cabin and revealed that he wasn’t wearing an undershirt, sales of undershirts took a dramatic nosedive from which they have never fully recovered.
3. Kind Hearts and Coronets (1949 ) England
Director Robert Hamer’s black comedy about class distinctions in Edwardian England stars Dennis Price as Louis Mazzini, the rightful Duke of Chalfont and heir to the D'Ascoyne family fortune. Mazzini’s snobbish relatives have disowned his mother for falling in love with his Italian Opera singer father and he’s determined to exact revenge and claim his birthright. Mazzini sets out to kill, one by one, all eight members of the D'Ascoyne family who stand between him and the title. Alec Guinness brilliantly plays all eight D'Ascoynes and while each role is small Guinness invests every one of them with a distinct and memorable personality.
Mazzini devises increasingly more complex and devious ways to kill each victim and each grisly new death is more horribly hilarious than the last. Kind Hearts and Coronets is a delightfully wicked dark farce that employs clever dialogue and intellectual cynicism to ridicule the concept of a noble aristocratic class. Be warned, the film ends on a note of genuinely caustic irony.
4. Young Frankenstein (1974) AFI# 13
Mel Brooks Young Frankenstein is an affectionate spoof of James Whale’s classic 1931 horror film Frankenstein (and its’ 1935 sequel The Bride of Frankenstein). Brooks (who collaborated on the script with Gene Wilder) was able to capture the surrealistic look and macabre mood of Whale’s classic films by using the original sets. Cinematographer Gerald Hirschfield shot the film in black and white with the same aspect ratio as the originals and had the film processed to mimic the soft-edged high contrast appearance of classic thirties horror films.
Gene Wilder stars as Frederick Frankenstein, the grandson of Doctor Victor Frankenstein and a brilliant neurosurgeon and college professor who emphatically denounces his grandfather as a "cuckoo" whose re-animation experiments were “doo-doo” and insists on being called Doctor Fronk-en-shteen. After Frederick discovers that he’s the sole heir to the Frankenstein family fortune and his grandfather’s mountaintop Romanian castle, he heads for Transylvania. Soon after his arrival, Wilder discovers Victor’s notes (titled “How I did it”) and becomes obsessed with duplicating his grandfather’s experiments.
Wilder is ably assisted in creating the monster (played beautifully by Peter Boyle) by frog eyed Marty Feldman as Eye-Gor (the grandson of Victor’s assistant, Igor) and Terri Garr (as Inga) the delectable but not too bright "laboratory assistant" (her campy German accent is a hoot). Once Wilder brings the monster to life, he and Boyle perform a side splittingly funny song and dance duet of Cole Porter’s “Puttin’ on the Ritz”. Brooks minor characters also contribute to the brilliance of the film, especially Kenneth Mars (as the wooden-armed local Police Inspector) during a fall down funny game of darts and Gene Hackman (who isn’t known for his comedic abilities) in an absolutely hilarious cameo as the blind hermit who befriends the lonely monster. Madeline Kahn stars as Wilder’s fiancée and the object of the love struck Monster’s affection and Cloris Leachman is hilarious as the castle’s stern housekeeper, Frau Blucher.
Young Frankenstein is widely recognized by movie critics and film historians as the funniest parody ever produced, but the film is simultaneously a charming and affectionate homage to both the best and worst elements of all those classic horror movies produced during Hollywood’s golden age.
5. King of Hearts (1967) France
Director Philippe de Broca’s King of Hearts is a subtle protest film that doesn’t beat viewers over the head with anti-war clichés, rather the story ends up being the ultimate expression of the old “the inmates are running the asylum” joke. The film is set during World War I with the British and the Germans fighting to secure the area around a small deserted French village. The Germans have placed a huge bomb in the town’s clock tower and the British send Private Plumpick (Alan Bates) to find the bomb, and disarm it. The Germans chase Plumpick into the local asylum where he pretends to be one of the patients, identifying himself as "The King of Hearts" (he’s inspired by a playing card) when interrogated by the soldiers.
Bates escapes the asylum, but accidentally leaves the gates unlocked allowing all the lunatics (who’ve been abandoned by the staff) to re-populate the village, returning to their old jobs and their prior social stations. Plumpick tries desperately to warn the inmates of their imminent doom, but they are oblivious to the war raging around them.
Bates (in a superb performance) is slightly dazed by what is happening but as he grows more comfortable with the villagers they become the real world and the armies surrounding the town become the crazies. Geneviève Bujold is absolutely ravishing and sensuously earnest as Plumpick’s romantic interest. Standouts among the supporting cast include Jean-Claude Brialy and Françoise Christophe as the Duke and Duchess and Michel Serrault (best known to American audiences from La Cage Aux Folles) as the town’s foppish hairdresser.
Phillipe de Broca’s lunatics are obviously sane because they cherish the beauty of life and the value of community and obstinately refuse to accept the horror of war while the supposedly “normal” folks outside the village are absurdly bent on destroying one another and everything around them. King of Hearts is a bittersweet and sentimental comic allegory about war and its’ relationship to insanity, the message is simple; war is bad is because it's hateful, destructive, and ultimately insane.
6. Sleeper (1973) AFI# 80
Woody Allen started his career working as a writer (with Carl Reiner and Mel Brooks) on Sid Caesar’s classic “Your Show of Shows” live TV program. After a stint as a stand-up comic he started making films. Allen’s Sleeper is a science-fiction satire that spoofs a totalitarian utopia vision of the future. Allen stars as Miles Monroe, a Greenwich Village Health Food Store owner and part time jazz musician who checks into the hospital in 1973 for a minor operation and wakes up two hundred years later in a nightmare future that’s “worse than California”.
He’s been thawed out by a group of scientists who ostensibly want to ask him about life in the twentieth century, but in actuality the scientists are part of a rebel movement that plans to overthrow “The Great Leader”. They want Allen to contact the underground, but before he can be briefed on his mission the Security Police arrive and de-program the scientists, setting up a hilarious series of comic bits as Allen tries to escape. Woody ends up disguising himself as one of a group of robotic android butlers and gets delivered to the house of a shallow and insipid poetess named Luna (Diane Keaton) who is preparing for a party.
Allen plays the android to the hilt and in a fall down funny scene (ala The Blob) does battle with a gigantic seemingly sentient instant pudding. In another hilarious bit, Allen discovers that sex in the future is very different. Just step into the Orgasmatron machine for some quick, efficient, and fully clothed sex with no risk or involvement. Woody tries it and the image of him adoringly licking the machine is uproariously funny. Allen persuades Luna to take him to the underground and eventually they save the future by stopping a top-secret government experiment and getting rid of the “Great Leader”.
Allen’s career as a filmmaker can be divided into two distinct periods; before Annie Hall and after Annie Hall. Before Annie Hall Woody’s films relied heavily on influences from classic comedians like Buster Keaton, Charlie Chaplin, Groucho Marx, and Sid Caesar and used physical comedy, slapstick, exaggerated silliness, and jazzy one-liners to get laughs.
Beginning with Annie Hall Allen’s outlook changed to reflect an intellectual obsession with rambling observations on his personal neuroses and a darker more stylistic New York City hip artistic vision. His later films are more sophisticated, but they lack the off-beat irreverence and fast-paced physical humor of his earlier films. Sleeper was Allen’s last film before Annie Hall and it is easily his funniest.
The elegant Dixieland Swing soundtrack (by the Preservation Hall Jazz Band) moves Sleeper along perfectly, just as Arthur Penn’s brilliant Flatt & Scruggs Bluegrass soundtrack masterfully paced Bonnie and Clyde.
7. Some Like It Hot (1959) AFI# 1
Some Like it Hot is a ribald and completely unapologetic sexual farce disguised as a spoof of classic gangster films. Marilyn Monroe plays it (more or less) straight as the singer in an all-girl band. Tony Curtis and Jack Lemon play musicians on the lam who dress in drag and travel south with Marilyn’s band to escape the Chicago mob after unluckily witnessing the St. Valentine’s Day massacre.
Monroe is determined to ignore sexual attraction and true love and use her looks to snag a millionaire. Curtis lusts after the gorgeous Marilyn and later disguises himself as a millionaire to get her to fall for him -- in a typically Wilderesque twist, Lemon has a real millionaire (played by Joe E. Brown) fall for his girl musician character. Monroe completely steals every scene she appears in by playing her sexy little girl voiced innocent-naughty naiveté to the hilt. Tony Curtis and Jack Lemon turn in astonishingly good performances and the supporting players (especially Joe E. Brown, Pat O’Brien, and George Raft) are all exceptional. Memorable moments include Marilyn’s blatantly sexual solo on "I Wanna Be Loved by You", Curtis’ wickedly droll parody of Cary Grant when he introduces himself to Monroe as the heir to the Shell Oil fortune, Monroe’s efforts to arouse the supposedly impotent Curtis, and Lemon and Brown in a meticulously staged tango.
Billy Wilder was one of a small group of genuinely great directors whose body of work demonstrates a consistent and cohesive personal artistic vision. Unlike many of his contemporaries Wilder was equally adept at crafting noir thrillers like Double Indemnity, dramas like Sunset Boulevard, love stories like Sabrina, and comedies like The Apartment and Some Like it Hot. Most movie critics and film historians (and the AFI) regard Some Like it Hot as Wilder’s best film and the greatest comedy movie of all time.
8. Dr. Strangelove, or how I learned to stop worrying and love the bomb (1964) AFI# 3
Stanley Kubrick learned to create visual drama and make striking images while working as a professional photographer for Look magazine, before getting into the movie business. He was equally comfortable directing noir thrillers like The Killing, war films like Paths of Glory and Full Metal Jacket, sci-fi classics like A Clockwork Orange and 2001 A Space Odyssey, and horror movies like The Shining. Kubrick’s masterpiece is an intellectually provocative black comedy of sixties cold-war political brinksmanship called Dr. Strangelove, or how I learned to stop worrying and love the bomb.
Kubrick and Terry Southern co-wrote Dr. Strangelove, or how I learned to stop worrying and love the bomb to ridicule the institutional insanity of a cold war political philosophy that prided itself on the deterrent value of mutually assured nuclear annihilation. In Dr. Strangelove, or how I learned to stop worrying and love the bomb, the unthinkable becomes reality when a preemptive and unstoppable nuclear attack is launched by a madman with a messiah complex and access to tactical nuclear weapons.
Kubrick shot Dr. Strangelove, or how I learned to stop worrying and love the bomb in gorgeously moody Black & White using only three sets – the locked down office of General Jack D. Ripper at a high security U. S. Air Force base, the high tech command and control center in the War Room at the Pentagon, and the cramped cockpit of a B52 bomber. The film switches back and forth between these three locales as the action unfolds.
General Ripper (Sterling Hayden) is zealously psychotic and as nutty as a fruitcake, but he’s also in charge of a SAC bomber base. Ripper believes the “Commies” are out to destroy America by fluoridating the water, so he sends a B52 to drop two atomic bombs on Russia. Peter Sellers plays three distinct roles (Dr. Strangelove a former Nazi Presidential advisor, Group Captain Mandrake a stereotypical stiff upper lip British military officer, and Mervin Muffley the President of the U. S.).
In the War Room General “Buck” Turgidson (George C. Scott) a right-wing sabre rattler briefs the weak and ineffective U. S. President and the president’s chief advisor on nuclear affairs, Dr. Stangelove (a wheelchair bound former Nazi scientist who has an erratic mechanical hand that mindlessly snaps out Nazi salutes) on the rapidly escalating catastrophe. The Russian Ambassador is called in and reveals that the Soviets have a "doomsday" machine that will automatically destroy the U. S. if they are bombed.
The bomber (which can’t send or receive communications) is piloted by Slim Pickens (Sellers was also supposed to play the bomber pilot but he couldn’t master the Texas accent) as a patriotic gung ho Texas cowboy delighted with his mission to preemptively bomb the Rooskies back to the Stone Age. Picken’s classic “ride ‘em cowboy” final scene is a blatant phallic reference to the allegorical connection between sexual conquest and war. Dr. Strangelove, or how I learned to stop worrying and love the bomb is simultaneously hilarious and horrifying and if viewers substitute Richard Nixon, General Curtis LeMay, and Dr. Henry Kissinger for the three War Room principals, Kubrick’s seemingly paranoid scenario turns out to be eerily prophetic.
9. The Marx Brothers “Duck Soup”(1933) AFI# 5
The Marx Brothers used experiences gained while growing up and performing in burlesque, music hall, vaudeville and the Yiddish comedy circuit to create a truly unique style of madcap lunacy that combined malicious verbal wit and outrageous sexual innuendo with anarchic physical comedy. Duck Soup is the Marx Brothers only film with an overtly political theme. The film is an irreverent surrealistic comic treatise on the absurdity of nationalist politics, government corruption, and war as statecraft. The geopolitical climate of the time (rampant nationalism, racial and territorial hostilities, and the growing threat of another World War) was a serious concern for isolationist America and Duck Soup allowed movie goers to laugh and forget their fear for an hour or two as Groucho and his brothers satirized and ridiculed the aggressive posturing and egotistical pompousness of the leaders of Germany, Italy, Russia, and Japan.
Groucho plays Rufus T. Firefly who becomes the dictator of Fredonia with the assistance of Mrs. Teasdale (Margaret Dumont) a rich and arrogantly self-important dowager. The neighboring principality of Sylvania has expansionist plans and hires Harpo and Chico to spy on Fredonia. When Groucho calls for help, after Sylvania attacks, the response is a nicely edited montage of charging elephants, speeding fire trucks, and careening police cars to the rescue---unlike the futile plea for help to the League of Nations that the Emperor of Ethiopia would make after Italy attacked his country.
For modern movie fans some of the sequences (like the moving hat routine involving Chico and Harpo and an irate lemonade vendor or the bit with Groucho trying to trip up Harpo as his mirror image) may seem dated and trite but the Marx Brothers invented these classic bits and it is their imitators who are actually guilty of cliché. Mussolini banned Duck Soup from being shown in Italy for mocking his Fascist regime, which is high praise for this comic masterpiece. In a final irony, Paramount fired the Marx Bothers shortly after Duck Soup was released.
10. MASH (1970) AFI# 7
In 1970 the people of the United States were violently divided over the highly controversial Viet Nam War. In Hollywood, Twentieth Century Fox was preoccupied with shooting two blatantly patriotic big budget war films, Patton and Tora! Tora! Tora! when Robert Altman (working for the same studio) started shooting a small budget comedy film in the Santa Monica Mountains just north of L.A. Altman was the thirteenth director offered the opportunity to turn Richard Hooper’s popular comic novel “M*A*S*H” into a film. Altman's MASH is an irreverent anti authority - anti-war black comedy set during the Korean War that is clearly a scathing condemnation of war in general and the war in Viet Nam in particular.
MASH chronicles the trials and tribulations of the dedicated medical staff of the 4077th Mobile Army Surgical Hospital. Surgeons Hawkeye Pierce (Donald Sutherland), Trapper John McIntyre (Elliot Gould), and Major Frank Burns (Robert Duvall) and Army nurses led by Major Hot Lips Houlihan (Sally Kellerman) labor ceaselessly in blood splattered tents to save as many wounded soldiers as possible. The film is very critical of the way military bureaucracy and political policy impact the lives of the doctors, nurses, and their wounded patients.
Altman created a totally new style of film that threw an ensemble cast into a claustrophobic setting and then challenged them to improvise spontaneously as the plot unfolded and interconnected storylines shot off in all directions. Hawkeye and Trapper John are contemptuous of authority and they subject superiors Burns and Houlihan to a succession of hilarious embarrassments and indignities. Other stand out bits are the suicide celebration spoof of the last supper, an anarchic R&R golfing trip to Japan, and rigging a football game so the hospital staff can beat a team of Army bureaucrats.
MASH is supposedly set in the early fifties, but in reality the film perfectly expresses the anarchic and rebellious anti war - anti establishment spirit of the late sixties.
11. The Princess Bride (1987)
The Princess Bride is a funny, somewhat bittersweet, and absolutely enchanting fairy tale about friendship, revenge, adventure, justice, magic, miracles, and on a slightly deeper level the sometimes hilarious trials, and sacrifices of true love. The film appeals equally to children and adults because it has something for everyone; brave heroes, black-hearted villains, giants, pirates, monsters, wizards, swordplay, a fantastic journey, corrupt politics, death, and resurrection. William Goldman’s script is absolutely perfect, Rob Reiner’s direction (on his second film) is faultless, and the ensemble cast is totally amazing.
The movie opens with Peter Falk visiting his grandson (Fred Savage) who is sick with the flu. Falk has brought along a book and plans to read it to Savage who is more interested in video games than books. The story is set in medieval times and tells the tale of a beautiful maiden, Buttercup (Robin Wright) and the farm boy Westley (Cary Elwes) who loves her. Elwes can’t ask Wright for her hand until he has made his fortune, so he leaves the farm to make something of himself and Wright promises to wait. Years later Buttercup, believing Westley is dead agrees to marry selfish Prince Humperdinck (Chris Sarandon). Before the wedding Buttercup is kidnapped by bad guys (Mandy Patinkin as a skilled Spanish swordsman determined to avenge the murder of his father, Andre the Giant as a lovable and somewhat hesitant strongman, and Wallace Shawn as their boastful leader) from a rival Kingdom. Westley returns just in time to pursue and eventually catch up to the kidnappers. He bests each of them in individual combat, killing Wallace Shawn and converting Patinkin and Andre the Giant into friends. Prince Humperdinck and the evil Count (Christopher Guest) are also hot on the trail and Westley and his new friends are soon captured. After they return to Prince Humperdinck’s castle Westley is tortured until he is almost dead. Patinkin and Andre manage rescue Westley’s seemingly lifeless body and take it to Billy Crystal, who plays Miracle Max an ancient Yiddish wizard. Max manages to revive Westley (sort of) with the help of his wife and assistant Carol Kane and the three friends rescue Buttercup and stop Prince Humperdinck’s evil plans.
Reiner uses Savage and Falk, who pop up from time to time, like a Greek chorus to comment on the story’s twists and turns, help us consider the nature and value of true love, and to point out that life isn’t fair and that people must sometimes make difficult choices.
12. L'Homme de Rio or That Man From Rio (1964) France
Phillipe De Broca learned his craft in the late fifties working as an assistant to new wave giants Francois Truffaut and Claude Chabrol. De Broca was the first director to merge the raw hip immediacy of the new wave with the mainstream appeal of commercial cinema. His first major success L'Homme de Rio is a funny action thriller featuring Jean-Paul Belmondo (the French Bogie) in the title role. Belmondo is a private on a one-week furlough from the French army who travels to Paris to visit his girlfriend (Francoise Dorleac) and arrives just in time to see her kidnapped. Belmondo sets off immediately on a non-stop chase to rescue Dorleac from her kidnappers.
That Man From Rio is a triple spoof that begins using the streets of Paris as the set in a crash bang chase that pays affectionate homage to classic silent film chases. The middle part of the film follows Belmondo to Rio and then up the Amazon River in a series of adventures that spoof the James Bond spy movies. The final third of the film finds Belmondo deep in the Amazonian Rainforest working to thwart a greedy businessman and a mad scientist who are seeking a powerful and very valuable Indian relic. The climax of That Man From Rio is clearly a spoof of the popular Saturday afternoon cliffhanger serials of the forties made almost twenty years before Harrison Ford and Steven Spielberg visited the same material in Raiders of the Lost Ark. In French with English subtitles
13. Beverley Hills Cop (1984) AFI# 63
Beverley Hills Cop is based on the simple concept of raising cliché to the level of art form. There isn’t a single original idea in Martin Brest’s film. Every single renegade cop on new turf, working class slob in the realm of the rich, tough little guy takes on the system, and lone vengeance seeker brings down the bad guys cliché turns up in Beverley Hills Cop, but Eddie Murphy and his co-stars make them all look fresh again.
Eddie Murphy stars as Axel Foley, a pushy loudmouthed black Detroit homicide cop who tracks the bad guys who killed his best friend to Beverley Hills. Foley is arrested soon after he arrives and two Beverley Hills cops (John Ashton and Judge Reinhold) are assigned to keep him out of trouble.
Sylvester Stallone was originally slated to play Axel Foley but he and Martin Brest (Midnight Run and Scent of a Woman) parted company (over Stallone’s constant script change demands) just two months before the start of principal filming. Murphy’s attitude driven improvisations and hip street riffs make Foley seem invincible as he reprises plot bits from hundreds of action flicks and TV shows Beverley Hills Cop is Eddie Murphy’s movie and he outrageously overplays Foley as the tough supremely confident wisecracking loner cop who breaks all the rules and pulls off one elaborate deception after another to nail the bad guys.
The bass and synthesizer heavy eighties soundtrack beautifully paces the non-stop action; the film is simultaneously glitzy and gritty with a wonderfully balanced blend of graphic violence and uncouth comedy. Almost twenty years after its’ release Beverley Hills Cop is still fall down funny.
* The other two top five Oscar winners were One Flew over the Cuckoo’s Nest (1975) and The Silence of the Lambs (1991)
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Member: Howard Creech
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