Date night doesn’t need to mean a formulaic chick-flick that’s going to have one-half of the couple squirming and checking baseball updates on his phone. Every year, the Romantic Comedy genre continues to produce some hilarious and original odes to love for all tastes.

Our list ranges in date from 1934’s It Happened One Night to 2012’s Silver Linings Playbook, covering every decade in between. We only included films where the romance was central to the plot and that we felt were truly funny—whether the dark comedy of Harold and Maude or the slapstick of The Princess Bride. That means that some classic romances like An Affair To Remember and some gut-busting comedies like Bridesmaids got left off (but you should watch them both anyway).

Whether you’re watching with that special someone or just watching while dreaming about him or her, these are the 50 Best Romantic Comedies of All Time.

50. Scott Pilgrim Vs. The World
Year: 2010
Director: Edgar Wright
In many ways, all of Edgar Wright’s films have been romantic comedies in some fashion. Shaun of the Dead just happens to have zombies and Hot Fuzz just happens to have two males as its romantic leads. In this way, Scott Pilgrim vs. The World is perhaps Wright’s most clear-cut attempt at a rom-com. The story deals in a situation that is all too familiar in the relationship world—that of dealing with your romantic partner’s past romantic baggage. However, to paraphrase Scott Pilgrim’s own words, this emotional baggage (i.e. his girlfriend’s evil ex-boyfriends) is actively trying to kill him every 30 seconds. Just as in a musical, where characters start singing when emotions run too high, Scott Pilgrim dishes out video game-style duels whenever a emotional conflict comes into play. As heighted as Scott Pilgrim may seem at times, however, its undertones are all too relatable.—Mark Rozeman

49. Forgetting Sarah Marshall
Year: 2008
Director: Nicholas Stoller
Following one of the standard romantic comedy tropes, a man (in this case played by Jason Segel) is tempted to chase the wrong girl (Kristen Bell), ignoring the soulmate (Mila Kunis) right in front him. But while we’d seen the set-up before, we’d seen nothing like Segal’s character Peter getting dumped while naked, Russell Brand as the lead singer for Infant Sorrow or Peter’s A Taste For Love Dracula-themed puppet-comedy-rock-opera. Everyone you’d expect (Jonah Hill, Paul Rudd, Kristen Wiig, Bill Hader) co-stars.—Josh Jackson

 
48. Clueless
Year: 1995
Director: Amy Heckerling
A combination of comedy, romance and high-school spunk, Clueless is a story with true ’90s flair. Alicia Silverstone stars as the pretty and popular Cher, a privileged valley girl with a penchant for matchmaking. While she cruises potential boyfriends for her girlfriends, she struggles to figure out her relationships. The film is a charming, modern take on Jane Austen’s 1815 novel Emma, and with performances by a youthful Paul Rudd and Brittany Murphy, it’s anything but an airhead. Could we love this film anymore? As if!—Megan Farokhmanesh

47. Hitch
Year: 2005
Director: Andy Tennant
Sure, Hitch never garnered any high-profile awards buzz. However, this standout 2005 romantic comedy did teach us the Q-tip dance, and we can all be thankful for that. Alex “Hitch” Hitchens is a professional dating consultant with an expertise in teaching nerdy men how to woo women. Played by the delightfully suave Will Smith, the “date doctor” is hired by Albert Brennamen in hopes to win the heart of beautiful celebrity Alegra Cole. While coaching Albert, Hitch also attempts to take his own advice as he charms cynical gossip columnist Sara Melas, who is not too pleased when finding out her beau is actually the man she is attempting to expose. Smith’s comedic chemistry with Kevin James is showcased when Hitch teaches Albert how to move it on the dance floor. If any studio executives decide to make a sequel, we suggest you take Aziz Ansari advice: “Hitch 2 ending – Girl: I’m a girl & need Hitch-esque advice! Me: Hmmm… ENTER @MINDYKALING AS A FEMALE HITCH. TO BE CONTINUED! #Hitch2.” Check out all of Ansari’s hilarious live-tweets about Hitch here..—Stephanie Sharp

 
46. You’ve Got Mail 
Year: 1998
Director: Nora Ephron
The quintessential tech-based romantic comedy. Rivals away from the computer screen, characters Joe and Kathleen (Tom Hanks and Meg Ryan) unknowingly fall in love with each other via an email relationship and humorously deal with a number of common online dating issues. And come on, it is kind of adorable to see Hanks and Ryan get so excited over AOL Mail.—Anita George

45. Roxanne
Year: 1987
Director: Fred Schepisi
“Because I was afraid of worms, Roxanne! Worms!” Steve Martin’s late ‘80s rom-com isn’t just his take on Edmond Rostand’s play Cyrano de Bergerac , it’s also a funny depiction of what would happen if everyone conducted their romantic lives as if they were giant games of Telephone. Roxanne is one of those smart comedies that seems to effortlessly balance complex, often serious themes of romantic attraction, self-esteem, intelligence and the art of conversation with hilarious pratfalls, physical comedy and sight gags. Even iconic film critics Gene Siskel and Roger Ebert agreed on how wonderful this romantic comedy was, commenting on its effervescence and Martin’s ability to take the story of Cyrano de Bergerac and successfully make it his own. Plus, you can’t help but smile whenever Martin’s prosthetic nose shows up on screen.—Anita George

44. 10 Things I Hate About You
Year: 1999
Director: Gil Junger
Inspired by William Shakespeare’s The Taming of the Shrew, the 1999 teen comedy places Katherina and Perturchio into modern times as feminist Kat and bad boy Patrick, the breakout roles for Julia Stiles and Heath Ledger. Patrick is initially paid to charm Kat as a part of an elaborate scheme by Cameron (Joseph Gordon-Levitt) to take out her younger sister, Bianca. Ledger wins Kat and the majority of the female population over during his marching band-accompanied stadium performance of Frankie Valli’s “Can’t Take My Eyes Off You.” Though Kat is angered when finding out about the deal that formed her relationship, the so-called shrew couldn’t stay mad for too long after receiving a sincere apology and brand new guitar from her Australian beau. With the perfect amount of ‘90s nonsense, the film ends with Letter to Cleo performing Cheap Trick’s “I Want You to Want Me” atop the roof of Padua High School.—Stephanie Sharp

 
43.The Lady Eve
Year: 1941
Director: Preston Sturges
One of director Preston Sturges’ defining films The Lady Eve centers on a beautiful con woman (Barbara Stanwyck) determined to catch the affections (read: the inheritance) of a naive rich boy (Henry Fonda) just recently arrived from a year-long excursion to the Amazon. In a nice twist from the battle-of-the-sexes formula that characterizes countless entries on this list, The Lady Eve finds the traditional gender roles reversed, with Stanwyck’s Jean Harrington acting as the dominant, sexual aggressor with Henry Fonda’s sweet but clueless Charles Pike serving as the passive object of desire. With enough secret identities and broad farce to rival a William Shakespeare play, The Lady Evestands as a stone-cold American classic.—Mark Rozeman

42. Notting Hill
Year: 1999
Director: Roger Michell
Like most good romantic comedies, everything about Notting Hill is an absolute dream: Oh, you’re a world-famous American actress, wealthy and beloved by millions? Neat. And you’re staying in one of the most beautiful neighborhoods in London (one of the most beautiful cities in the world)? Super cool. But oh no! You collide with a guy in the street and he spills orange juice all over you! Life is ruined! But wait a second. He’s an adorable, British independent bookstore owner with a group of quirky friends (including a hilarious Rhys Ifans and a pre-Downton Abbey Hugh Bonneville) and a penchant for spitting out screenwriter Richard Curtis’ (Four Weddings and a Funeral, Love Actually) charming one-liners and the face of Hugh Grant, and this is your meet-cute. Anna (Julia Roberts) may “just be a girl, standing in front of a boy, asking him to love her”...but she’s a damn lucky girl.—Bonnie Stiernberg

 
41. Lars and the Real Girl
Year: 2007
Director: Craig Gillespie
Lars and the Real Girl’s premise should have been cringe-worthy: Ryan Gosling dates a life-size sex doll, and the entire town goes to great lengths to protect the fairy tale. But Nancy Oliver’s Oscar-nominated script is so gentle, and so melancholic, that it becomes a quietly powerful story of a stunted man who finally comes of age. Darkly funny but sweet-natured, Lars is a small treasure.—Jeremy Medina

 
40. About a Boy
Year: 2002
Directors: Chris Weitz, Paul Weitz
No stranger to romantic comedies, Hugh Grant delivered perhaps his best performance ever inAbout a Boy, a different kind of rom-com. Through his relationship with a young teenager, Grant subtly transforms from notorious womanizer into, well, a man capable of loving the beautiful Rachel Weisz. Grant’s relationship with the boy is tender and thoughtful, much like the film itself.—Jeremy Medina

39. It Happened One Night
Year: 1934
Director: Frank Capra
To heck with Gone with the Wind, Clark Gable’s portrayal of hard-drinking cynical newsman Peter Warne, a man who finds himself on a road trip with runaway rich girl Ellie Andrew (Claudette Colbert), remains the best role of his career. Likewise, Colbert is an endearing hoot as the impulsive runaway. This being one of the pioneering rom-coms, these two highly opinionated characters who can’t stand one another at the beginning inevitably find their feelings softening as they reach the final stretch of their journey. At the time of its release in 1934, It Happened One Night was considered so funny that it won the five major Academy Awards (Best Picture, Director, Actor, Actress and Screenplay) precisely for being so funny. Obviously, nearly 80 years and countless copycats have somewhat diluted the film’s originality and humor over time. Nevertheless, it still stands as a towering example of American comedy and a model for all successful rom-coms to this day. Also, let’s face it, how many subsequent romantic comedies have had their basis in simple dialogue exchanges like this (between Warne and Ellie’s father):
Mr. Andrews: Do you love [my daughter]?
Warne: A normal human being couldn’t live under the same roof with her without going nutty. She’s my idea of nutty.
Mr. Andrews: I asked you a simple question, do you love her?
Warne: Yes! But don’t hold that against me, I’m a little screwy myself!—Mark Rozeman

38. The 40-Year-Old Virgin
Year: 2005
Director: Judd Apatow
Judd Apatow has emerged as the major new voice in the world of romantic comedy. His first directorial effort, The 40-Year-Old Virgin is a big, goofy, hilarious mess of a movie that is anchored by the easy charm of its two principal leads, Steve Carell and Catherine Keener. Their no-nonsense romance is surprisingly understated and adult in a movie with an outrageous premise and lewd jokes. Leslie Mann also deserves credit for that hilarious French toast scene.—Jeremy Medina

 
37. As Good as It Gets
Year: 1997
Director: James L. Brooks
Jack Nicholson is not exactly the first person who comes to mind when you think romantic leading man. Certainly, when we first meet Melvin Udall, the mean-tempered, OCD curmudgeon at the center of James L. Brooks’ As Good As It Gets, it’s clear he’s no Tom Hanks. That is, until he is one day forced to take care of his neighbor’s dog. This event serves as the catalyst for a Scrooge-like transformation as poignant as anything in recent memory. More in touch with his feelings, Melvin soon grows close to the single-mother/waitress (Helen Hunt) at his favorite restaurant and, in the end, overcomes his self-centeredness and lets her know how highly he thinks of her. Cheesy? Yes. But damn if it doesn’t work.—Mark Rozeman

36. Punch-Drunk Love
Year: 2002
Director: Paul Thomas Anderson
No doubt about it: Punch-Drunk Love is an odd little film. Director Paul Thomas Anderson recruited Adam Sandler, of all people, to star in his offbeat romantic comedy about a emotionally immature businessman prone to explosive fits of rage. He meets a kindred spirit in Emily Watson, leading the two to proclaim same rather curious declarations of love. The power of Punch-Drunklies in the thrill that, after ages of loneliness, someone can come along and understand you with just one quick glance.—Jeremy Medina

 Our list ranges in date from 1934’s It Happened One Night to 2012’s Silver Linings Playbook, covering every decade in between. We only included films where the romance was central to the plot and that we felt were truly funny—whether the dark comedy of Harold and Maude or the slapstick of The Princess Bride. That means that some classic romances like An Affair To Remember and some gut-busting comedies like Bridesmaids got left off (but you should watch them both anyway).

35.Pretty in Pink
Year: 1986
Director: John Hughes
Let’s ignore the fact that she ends up with the wrong guy in the end (Team Duckie for life!) and examine what makes Pretty in Pink’s Andie so impossibly cool: She works in a record store and has killer taste in music. Her outfits are daring and incredible. She brushes off insults from evil richie-rich Steff (James Spader) like they ain’t no thang. She supports her deadbeat dad and essentially serves as head of their household. But most importantly, she’s the picture of courage, staying true to herself the whole way through and never changing to please Blane and his wealthy friends—and if there’s any single movie character teen girls should be modeling themselves after as they attempt to swim the treacherous waters of high school without drowning, she’s the one.—Bonnie Stiernberg

 
34. Groundhog Day
Year: 1993
Director: Harold Ramis
Bill Murray, director/co-writer Harold Ramis and screenwriter Danny Rubin take a Twilight Zone-esque comedic premise—a self-centered weatherman gets stuck experiencing February 2 again and again—and find unexpected profundity. A more conventional film would have love resolve the chronological predicament, but instead, it falls to Murray to become the best man he can possibly be. A Hollywood comedy that challenges middle-class Americans to better themselves, Groundhog Daydoesn’t just elicit laughs, but leaves audiences more deeply moved than they ever expected.—Curt Holman

33. Jerry Maguire
Year: 1996
Director: Cameron Crowe
Besides acting as the megahit blockbuster of 1996,Jerry Maguire also quickly achieved the status of the modern day romantic-comedy done right. Certainly, between Say Anything and Almost Famous, writer/director Cameron Crowe has never been one to hide his inner softie. Jerry Maguire is no different, featuring career-best performances from Tom Cruise, Renee Zellweger and Cuba Gooding Jr. as well as litany of memorable lines still quoted to this day. And, let’s face it, whoever doesn’t get at least a little bit teary-eyed when Renee Zellweger proclaims, “You had me at hello,” is probably a Cylon spy who should be blasted away at once.—Mark Rozeman

 
32. The African Queen
Year: 1951
Director: John Huston
The madcap, screwball comedies of the ‘30s and ‘40s helped set the template for the battle-of-the-sexes comedies that would populate American cinemas for years to come (and still do, to some extent). Writer/director John Huston’s genius in making The African Queen was taking the feuding couple out of the metropolitan areas for which they’d often been associated with and instead placing them square in the middle of an inhospitable jungle. With the added element of survival driving their journey, the flirtatious banter between classy widow Rose Sayer (Katherine Hepburn) and crass boatman Charlie Allnut (Humphrey Bogart) crackles all the more, making for a rom-com as vicious as it is sweet.—Mark Rozeman

31. Wall-E
Year: 2008
Director: Andrew Stanton
Before you cry foul, let’s think about the plot ofWall-E for a second: lonely boy meets girl, falls in love, and chases girl to the ends of the earth—or, in this case, the universe. How is that not a romantic comedy? Nevermind they’re robots. Nevermind the lack of dialogue. Nevermind it’s animated. When Wall-E and Eve dance together in the sky amongst the stars, we might as well be watching the second coming of Fred Astaire and Ginger Rogers.—Jeremy Medina

 
30. The Wedding Banquet
Year: 1993
Director: Ang Lee
Ang Lee’s sophomore feature The Wedding Banquet is an unorthodox rom-com in that it’s not so much about the forming of a relationship as it is about covering up an existing one. Wai-Tung is a gay man living happily with his partner in Manhattan. Due his parent’s conservative nature, he has yet to inform them of his sexuality. As such, they continually badger him to marry a girl and settle down. In an attempt to kill two birds with one stone, Wai-Tung decides to marry his neighbor Wei Wei, a poor artist from mainland China in desperate need of a green card. Besides allowing Wei Wei to stay and work in the U.S., Wai-Tung also hopes to finally get his parent;s off his back. This plan backfires, however, when his parents arrive from Thailand with the intention of throwing him an elaborate wedding. A film that mixes madcap comedy with poignant domestic drama, The Wedding Banquet may not be a conventional romantic comedy, but it certainly stands as one of the best.—Mark Rozeman

 
29. Waitress
Year: 2007
Director: Adrienne Shelly
Every bit as comforting as the delicious, candy-colored pies Keri Russell bakes in the film, Waitressis a honeyed little comedy that should speak to anyone who has ever felt stuck in a situation. And as good as Russell is, the film’s true star is its writer/director/co-star, the late Adrienne Shelly. Murdered before the film saw its release, the film stands as a wonderfully bittersweet testament to her considerable talent.—Jeremy Medina

 
28. Sleepless in Seattle
Year: 1993
Director: Nora Ephron
Sleepless in Seattle is essentially one giant love letter to 1957’s An Affair to Remember from writer/director Nora Ephron. Rita Wilson gives a memorable teary summary of the movie, and Annie (Meg Ryan) watches it before writing to Sam (Tom Hanks) inviting him to meet her at the top of the Empire State Building—the way Cary Grant and Deborah Kerr attempt to in their movie—on Valentine’s Day. When they finally meet on the observation deck, the theme from An Affair to Remember swells, setting the mood for anyone with an appreciation for good rom-coms.—Bonnie Stiernberg

 
27. Juno
Year: 2007
Director: Jason Reitman
Much has been made about the Diablo Cody-isms that permeate the script, but the heart of Juno is Ellen Page, and her coming to terms with her feelings for Michael Cera. Sure, it takes getting pregnant for her to realize the man of her dreams is the wimp in yellow shorts, but then, the characters in Juno aren’t like normal people anyway. Page’s heavy-lifting deserved every bit of that Oscar nomination.—Jeremy Medina

 
26. The Purple Rose of Cairo
Year: 1985
Director: Woody Allen
Allen has stated a number of times The Purple Rose of Cairo is among his favorite films he’s directed, and it’s no wonder—it’s his sweetest and most imaginative film to date. Mia Farrow delivered her best performance in the 13 films she made with Allen, playing a lonely woman who escapes to the movies to live out her fantasies through her favorite actors. Even when the dashing Tom Baxter (a young Jeff Daniels) steps out of the screen and into her life, she keeps her emotions and expectations in check: “I just met a wonderful new man. He’s fictional, but you can’t have everything.” Purple Rose whimsically builds toward a gut-wrenching, elegiac final shot that reminds us why we go to the movies in the first place: to dream.—Jeremy Medina

 
25. Silver Linings Playbook
Year: 2012
Director: David O. Russell
With leads as winning as Cooper and Lawrence, and Russell’s signature mix of clever and sincere dialogue, the hook is set. Every single detail doesn’t gel—Chris Tucker’s role as Danny, Pat Jr’s escape-prone friend from the treatment facility, seems a bit extraneous—but it doesn’t need to. By the end of the dance competition finale (yeah, there’s that), the audience, actors and director are on exactly the same page—and it’s Russell’s playbook.—Michael Burgin

 
24. Bringing Up Baby
Year: 1938
Director: Howard Hawks
The textbook example of a screwball comedy,Bringing Up Baby finds Cary Grant’s hilariously uptight paleontologist Dr. David Huxley struggling to keep his life together when the flirtatious agent of chaos that is Katherine Hepburn’s Susan Vance comes crashing into his life. Add in shenanigans involving a baby leopard, a collapsing brontosaurus skeleton and some deftly executed pre-MPAA sexual innuendos and you have not only one of the best romantic comedies of all time but one of the funniest American movies ever made.—Mark Rozeman

 
23. (500) Days of Summer
Year: 2009
Director: Marc Webb
“This is a story of boy meets girl. But you should known in advance, this is not a love story,” intones the voiceover at the start of this bittersweet romantic comedy. True to those words, what unfolds is not quite the light, sunshine-y narrative indicated by the film’s vibrant color spectrum. Subverting notions of the typical rom-com,Summer acknowledges the all-too-true notion that sometimes, without definite rhythm or reason, a relationship can just not work out—no matter how badly you want it to. The film’s non-linear structure — which jumps back and forth across the titular 500 days between the couple’s initial meeting, their breakup and the point where lead character Tom (Joseph Gordon-Levitt) can finally move on with his life — helps to emphasize the delicate nature of romantic relationships and how perception means everything. Speaking of perception, who hasn’t been in the position so accurately displayed in the film’s devastating “Expectations vs. Reality” sequence?

 
22. His Girl Friday
Year: 1940
Director: Howard Hawks
Adapted from the widely acclaimed play The Front Page, His Girl Friday is a classic whose sharp, witty dialogue matches that of old newsrooms. This smooth-talking editor, played by the always-charming Cary Grant, recognizes true journalistic talent and goes to great lengths to get his best reporter to cover a major story.—Bonnie Stiernberg

 
21. The Graduate
Year: 1967
Director: Mike Nichols
In the undisputed king of movies for those headed out into the real world, a hyper-accomplished recent grad (Dustin Hoffman) panics at the prospect of his future and falls into an affair with the much older wife of his father’s business partner (Anne Bancroft). It helped define a generation long since embalmed by history, but the sense of longing for an alternative hasn’t aged.—Jeffrey Bloomer

所有時間的50個最佳浪漫喜劇
由喬希·傑克遜
2013年4月30日|下午12:37
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所有時間的50個最佳浪漫喜劇
約會之夜並不需要是指一個公式化的小雞輕彈，那將有一半的夫妻蠕動和檢查棒球更新他的電話。每年，浪漫喜劇流派的不斷產生一些熱鬧和原來的頌歌各種口味的愛。

從1934年的日期我們的名單範圍一夜風流至2012年的一線希望劇本，覆蓋每一個十年之間。我們只包括片裡的浪漫是中央的情節，而我們認為是真正有趣的，無論黑暗喜劇哈羅德和莫德或打鬧公主新娘。這意味著，一些經典的戀情像一枝紅杏出牆來記住和一些腸道剋星喜劇像伴娘就剩關閉（但你應該看他們兩個反正）。

無論您是觀賞與特別的人或只是在夢想著他或她看，這些都是所有時間的50個最佳浪漫喜劇。

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50。斯科特朝聖者VS。世界
年份： 2010 導演：埃德加·賴特 在許多方面，都埃德加·賴特的電影都以某種方式被浪漫喜劇。殭屍肖恩正好有殭屍和熱血警探正好有兩名男子因為其浪漫的線索。這樣一來，斯科特朝聖者主場迎戰世界也許是賴特的最鮮明的企圖在一個ROM-COM。這個故事交易的情況，就是太熟悉的關係世界，對付你的戀人的過去浪漫的行李。然而，套用斯科特朝聖者自己的話來說，這情感包袱（即女友的邪惡前男友）正積極試圖殺死他每30秒。正如在音樂，其中的字符開始唱歌時的情緒運行太高，斯科特朝聖菜了視頻遊戲式的決鬥，每當一個情感衝突發揮了作用。由於heighted為斯科特朝聖者似乎有時，然而，它的意味都太relatable.嘜Rozeman

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49忘掉莎拉·馬歇爾。
年份： 2008 導演：尼古拉斯·斯托勒 以下一項標準的浪漫喜劇比喻，一個人（在這種情況下，由傑森·席格爾飾演）是誘惑，追錯的女孩（克里斯汀貝爾），忽略了心心相印（美娜古妮絲）就在眼前了。但是，儘管我們已經見過的設置，我們會看到什麼樣西格爾的性格彼得被情人拋棄而赤裸，拉塞爾·布蘭德作為主唱的嬰兒悲傷或彼得的滋味對於愛吸血鬼為主題的木偶 ​​喜劇搖滾歌劇。大家你所期望的（喬納·希爾，保羅·路德，克里斯汀威格，比爾·哈德）合作stars. -喬希·傑克遜

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48獨領風騷。
年份： 1995 導演：艾米Heckerling 喜劇，浪漫和高中仙水的組合，懵懵懂懂的是真正的90年代風格的故事。艾麗西亞銀石賽道飾演的漂亮，受歡迎的雪兒，優越的山谷女孩與一個愛好為牽線搭橋。雖然她的巡航她的女朋友潛力男朋友，她掙扎著要弄清楚她的關係。本片是一部迷人，現代採取簡·奧斯汀的小說1815 艾瑪，並與表演一個年輕的保羅·路德和布列塔尼墨菲，這是什麼，但一個沒頭腦。難道我們愛這部電影了嗎？彷彿！ -梅根Farokhmanesh

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47全民情敵
年份： 2005 導演：安迪·坦南特 當然，拖車從來沒有囊括所有高調獎項的嗡嗡聲。然而，這種出色的2005浪漫喜劇確實教給我們的Q尖跳舞，我們都可以感謝。亞歷克斯“全民情敵”希金斯是一個專業的交友顧問在教學書呆子男人如何吸引女性的專長。由興高采烈倜儻威爾·史密斯扮演的“約會醫生”在希望贏得漂亮的名人阿萊格拉·科爾的心臟聘請由阿爾伯特Brennamen。雖然教練阿爾伯特，拖車也試圖拿自己的意見，他的魅力玩世不恭的八卦專欄作家薩拉Melas的，查不到她的男友時，誰是不是太高興居然是男人，她試圖揭露。史密斯的喜劇化學與凱文·詹姆斯，當全民情敵教阿爾伯特如何將它在舞池被展出。如果有任何工作室負責人決定要拍續集，我們建議您採取阿齊茲安薩里忠告：“全民情敵2的結局-女孩：我是一個女孩和需要拖車式的諮詢！我：嗯...... ENTER @ MINDYKALING作為一個女性牽引。待續！＃Hitch2。“檢查了所有的安薩里的熱鬧現場鳴叫約拖車在這裡 ..-斯蒂芬妮夏普

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46你有郵件
年份： 1998 導演：諾拉依弗朗 典型的技術為基礎的浪漫喜劇。對手遠離電腦屏幕，字符喬和凱瑟琳（湯姆·漢克斯和梅格·瑞安）不知不覺愛上對方通過電子郵件關係，並幽默地處理了一些常見的網上約會的問題。並提出，它是一種可愛的，看看漢克斯和Ryan這麼激動過AOL的Mail. -喬治梅艷芳

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45羅克珊。
年份： 1987 導演：弗雷德SCHEPISI “因為我怕蟲子，羅克珊！蟲！“史蒂夫·馬丁的80年代後期ROM-COM是不是他拿的愛德蒙羅斯坦德的發揮大鼻子情聖，它也是會發生什麼，如果每個人都進行了他們的浪漫生活，好像他們是電話巨型遊戲一個有趣的描寫羅克珊是那些聰明的喜劇，似乎毫不費力地平衡浪漫的吸引力，自尊，智慧和熱鬧pratfalls，物理喜劇和視線堵嘴談話的藝術複雜，往往嚴重的主題之一。即使是標誌性的影評基因Siskel和羅傑·埃伯特同意這個浪漫喜劇多麼美妙的是，在評論其泡騰和馬丁的能力採取的故事大鼻子情聖，並成功地使他自己。另外，你不禁苦笑，每當馬丁的假鼻子就會顯示在screen. -喬治梅艷芳

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44 10的資料我恨你
年份： 1999 導演：吉爾準格爾 由威廉莎士比亞的靈感的馴悍記，1999年的青少年喜劇地方凱瑟琳和Perturchio到現代的女權主義者吉和壞小子帕特里克，對朱莉婭斯泰爾斯的突破角色與希斯·萊傑。帕特里克最初支付的魅力吉作為一個複雜的計劃，由卡梅倫（約瑟夫·高登-萊維特）拿出她的妹妹比安卡的一部分。萊傑勝吉和廣大女性人口超過期間弗蘭基莉的他的步操樂隊，伴隨著球場的表現“不能把我的眼睛離開你。”查不到有關這筆交易的時候，雖然吉是激怒了形成她的關係，所謂所謂的潑婦從她的澳大利亞男友接收誠懇的道歉和全新的吉他後呆不住狂太久。隨著20世紀90年代廢話完美的金額，電影與信克萊奧進行廉價把戲的“我要你要我”之上帕多瓦高School. -斯蒂芬妮夏普的屋頂結束

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43夫人除夕。
年份： 1941 導演：普雷斯頓·斯特奇斯 導演之一普雷斯頓·斯特奇斯'定義電影的夫人除夕在一個美麗的女人CON（芭芭拉·斯坦威克）中心確定趕上感情（讀：繼承）的天真富有的男孩（亨利·方達）剛剛從長達一年的遊覽抵達亞馬遜。從戰鬥的最兩性公式為特徵的這一清單上無數的項目一個不錯的扭曲，夫人除夕發現推翻了傳統的性別角色，與斯坦威克的Jean哈靈頓作為佔主導地位，性侵略者與亨利·方達的甜蜜，但毫無章法查爾斯派克作為慾望的被動對象。有了足夠的秘密身份和廣闊的鬧劇給對手一個莎士比亞戲劇，夫人除夕代表作為一個冰冷如石的美國classic.嘜Rozeman

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42諾丁山。
年份： 1999 導演：羅傑·米歇爾 最喜歡的好浪漫喜劇，一切關於諾丁山是一個絕對的夢想：噢，你是一個世界著名的美國女演員，富有和心愛的數以百萬計？整齊。和你住在倫敦最美麗的街區之一（最美麗的城市在世界上的一個）？超爽。但是，哦，不！你碰撞在街上的傢伙，他溢出橙汁遍了！生活毀了！但還有一個問題。他是一個可愛的，英國的獨立書店老闆和一群古怪的朋友（包括一個熱鬧里斯伊凡斯和預唐頓修道院休博納維爾），愛搞吐出編劇理查德·柯蒂斯（四個婚禮和一個葬禮，真愛至上）迷人單行和休·格蘭特的臉，這是你的相遇，可愛。安娜（朱莉婭·羅伯茨）可能“只是一個女孩，站在一個男孩面前，要求他愛她”......但她是一個該死的幸運girl. -邦尼Stiernberg

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41拉爾斯和真實女孩
年份： 2007 導演：克雷格吉萊斯皮拉爾斯和真實女孩的前提應該是畏縮，值得：瑞恩·高斯林日期一個真人大小的性玩偶，整個鎮竭盡全力保護童話。但南希奧利弗的奧斯卡獎提名的劇本是如此的溫柔，如此憂鬱，它成為一個發育不良的人誰最終蔚起一個靜靜的震撼人心的故事。猜謎有趣而甜美的脾氣，拉爾斯是一個小treasure.，傑里米·梅迪納

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40關於一個男孩。
年份： 2002 董事：克里斯·韋茨，保羅·韋茨 沒有陌生的浪漫喜劇，休·格蘭特在交付或許他最好的表現有史以來關於一個男孩，一個別樣的ROM-COM的。通過他與一個年輕小將的關係，格蘭特巧妙地變換從臭名昭著的花花公子到，好了，能夠熱愛美麗的蕾切爾·薇茲的人。格蘭特與男孩的關係是溫柔體貼，很像電影itself. -傑里米·梅迪納

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39一夜
年份：1934年導演：弗蘭克·卡普拉 他什麼飄，硬喝玩世不恭的新聞記者彼得·沃恩，一個人誰發現自己在與離家出走的富家女艾莉安德魯的客場之旅（克拉克·蓋博的寫照克勞科爾伯特），仍然是他職業生涯最好的作用。同樣，科爾伯特是一個可愛的叫聲作為衝動失控。這是一個開創性的rom-com公司的，這兩個高度自以為是的人物誰也受不了彼此之初不可避免地發現他們的感情軟化，因為他們到達最後階段，他們的旅程。在其1934年發布的時候，一夜風流被認為很有趣，它贏得了五大奧斯卡獎（最佳影片，導演，男主角，女主角及劇本）正是如此滑稽。很明顯，近80年來，無數模仿者已經有所沖淡了影片的創意和幽默隨著時間的推移。儘管如此，它仍然代表作為美國喜劇的典範，也是所有成功的rom-com公司到今天的一個高聳的例子。此外，讓我們面對它，隨後浪漫喜劇都多少有他們的基礎在簡單的對話交流，像這樣（沃恩和艾莉的父親之間）：先生 安卓：你愛[我的女兒]？沃恩：一個正常的人不能在同一個屋簷與她住在足不出戶的堅果。她是我的堅果。的想法先生 安卓：我問你一個簡單的問題，你愛她嗎？沃恩：是的！但不要以此要挾我，我有點神經兮兮嘍！嘜Rozeman

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38的40歲老處男
年份： 2005 導演：賈德·阿帕圖 賈德·阿帕圖已成為在浪漫喜劇世界主要的新聲音。他的第一部導演的努力，這位40歲老處男是很大的，愚蠢的，熱鬧的，是由它的兩個主要線索，史蒂夫卡萊爾和凱瑟琳·基納的輕鬆魅力停泊一部電影的一塌糊塗。他們沒有廢話的戀情是出奇的低調和成人電影中有一個離譜的前提和猥褻的笑話。萊斯利·曼恩也值得信貸的熱鬧法式烤麵包scene. -傑里米·梅迪納

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37好，因為它獲取
年份： 1997 導演：詹姆斯·L·布魯克斯 傑克·尼科爾森是不完全的第一人誰想到，當你覺得浪漫的男主角。當然，當我們第一次見面梅爾文·尤德爾，平均脾氣，強迫症的倔老頭在中央詹姆斯·L·布魯克斯的好，因為它獲取，很顯然，他沒有湯姆·漢克斯。也就是說，直到他是一天被迫把他的鄰居的狗的照顧。此事件作為催化劑的守財奴般的轉變為淒美在最近的記憶任何東西。更符合他的感情聯繫，梅爾文很快增長接近single-mother/waitress（海倫·亨特）在他最喜歡的餐館，並在結束時，克服他的自我中心，讓她知道他是怎麼強烈認為她的。俗氣？是。但該死的，如果它不work.嘜Rozeman

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36沖床醉愛
年份： 2002 導演：保羅·托馬斯·安德森 毫無疑問：沖床醉愛是一個奇怪的小電影。導演保羅·托馬斯·安德森招募所有的人亞當·桑德勒，在他的另類愛情喜劇明星大約在感情上不成熟的商人容易憤怒的爆炸性適合。他遇見一個志趣相投的艾米麗·沃森，導致這兩個宣告愛情同樣相當好奇聲明。權力模糊不清之處在於，不同年齡的孤獨之後，有人可以一起去，理解你只用一個快速glance. -傑里米·梅迪納的快感

從1934年的日期我們的名單範圍一夜風流至2012年的一線希望劇本，覆蓋每一個十年之間。我們只包括片裡的浪漫是中央的情節，而我們認為是真正有趣的，無論黑暗喜劇哈羅德和莫德或打鬧公主新娘。這意味著，一些經典的戀情像一枝紅杏出牆來記住和一些腸道剋星喜劇像伴娘就剩關閉（但你應該看他們兩個反正）。
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35紅粉佳人。
年份： 1986 導演：約翰·休斯 讓我們忽略她結束與錯誤的傢伙到底的事實，並檢查是什麼讓（團隊達基的生活！）紅粉佳人的俺爹所以不可能爽：她的作品在一家唱片店，擁有殺手的音樂品味。她的衣服是大膽和令人難以置信。她刷掉從邪惡里奇豐富STEFF（詹姆斯史派德）侮辱，如他們是不是沒有勝。她支持她的賴債爸爸，基本上充當他們的戶主。但最重要的是，她的勇氣的畫面，整條路上經過，從不留自己的真實變化來取悅布萊恩和他富有的朋友，如果有任何一個電影角色的少女應經過建模本身，因為他們試圖游泳奸詐沒有溺水高中水域，她是one. -邦妮Stiernberg

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34土撥鼠日。
年份： 1993 導演：哈羅德·雷米斯 比爾·默里，主任/聯合作家哈羅德·雷米斯和編劇丹尼·魯賓採取陰陽魔界式的幽默前提下，以自我為中心氣象卡住經歷了2月2日連連，並找到意想不到的深刻性。一個更傳統的電影將有愛心化解年代的困境，而是，它屬於穆雷成為最好的人，他 ​​都不可能。好萊塢喜劇，挑戰美國中產階級上進，土撥鼠日不只是引起笑，但觀眾留下更深刻地感動比以往任何時候expected.-柯特霍爾曼

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33傑里·馬圭爾
年份： 1996 導演：卡梅倫·克羅 除了作為1996年megahit一鳴驚人，傑里·馬圭爾也很快實現了現代浪漫喜劇做對的狀態。當然，之間說什麼和幾近成名，作家/導演卡梅倫·克羅從來就不是一個掩飾他內心的軟蛋。傑里·馬圭爾是沒有什麼不同，包括來自湯姆·克魯斯，芮妮·齊薇格和古巴高汀小以及職業生涯最好的表演長篇累牘難忘的線條仍然引用到今天。而且，讓我們面對現實吧，誰不得到至少一點點含淚的眼睛時，蕾妮·齊薇格宣告，“你讓我為你好，”可能是一個賽昂間諜誰應該在once.嘜Rozeman沖走

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32非洲皇后。
年份： 1951年導演：約翰·休斯頓 的狂妄，20世紀30年代和40年代的怪僻喜劇幫助設置模板戰鬥的最兩性喜劇，將填充美國電影院幾年來（現在仍然這樣做，在一定程度上）。編劇/導演約翰·休斯頓的天才作出非洲皇后正在採取的爭鬥夫婦出來的，他們會經常與相關的大都市地區，而是方形放置在一個荒涼的叢林中。隨著生存的添加元件驅動他們的旅程，優雅的寡婦之間的媚眼戲謔玫瑰塞耶（凱瑟琳·赫本）和粗魯船夫查理Allnut（亨弗萊·鮑嘉）裂紋更，使其成為一個ROM-COM為惡性，因為它是甜的-馬克Rozeman

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31瓦力。
年份： 2008 導演：安德魯·斯坦頓 在你喊冤，讓我們想想的情節牆-E為第二：孤獨的男孩遇見女孩，墜入愛河，並且追逐女孩的地球或結束在這種情況下，宇宙。這是怎麼回事不是一個浪漫的喜劇？請不要介意他們的機器人。沒關係缺乏對話。請不要介意它的動畫。當瓦力和夏娃的舞蹈一起在天空之中的明星，我們不妨來關注第二弗雷德·阿斯泰爾和生薑Rogers. -傑里米·梅迪納的未來

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30喜宴
年份： 1993 導演：李安 李安的大二功能喜宴是一個非正統的ROM-COM中，它是不是這麼多的關係的形成，因為它是大約覆蓋了現有的。惠通是一個同性戀男子與他在曼哈頓的夥伴快樂的生活。由於他父母的保守性質，他還沒有告訴他的性取向的他們。因此，他們不斷地糾纏他娶一個女孩，安頓下來。企圖一箭雙雕，一石，惠通決定要嫁給他的鄰居魏煒，來自中國大陸的綠卡急需一個貧窮的藝術家。除了 ​​讓韋唯留在美國工作，惠通也希望終於得到他的父母;秒關他的背部。然而，這一計劃事與願違，當他的父母從抵達泰國扔給他一個精心製作的婚禮的意圖。混合了狂妄的喜劇淒美的國產電視劇A片，喜宴可能不是一個傳統的浪漫喜劇，但它肯定代表作為best.嘜Rozeman之一

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29女服務員。
年份： 2007 導演：阿德里安娜雪萊 每一點安慰的美味，糖果色的餡餅克里拉塞爾烘烤在片中，服務員是蜂蜜少許喜劇應該向任何人誰曾經覺得卡在這種情況。而不如羅素是，這部電影的真正的明星是其編劇/導演/合演，後期阿德里安娜雪萊。謀殺前片看到它的發行，這部電影代表作為一個奇妙的苦樂參半的證明了她相當大的talent. -傑里米·梅迪納

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28西雅圖不眠夜
年份： 1993 導演：諾拉依弗朗 西雅圖夜未 ​​眠本質上是一個巨大的情書年至1957年的情天長恨從作家/導演諾拉依弗朗。麗塔·威爾遜給電影一個難忘的淚水總結，和安妮（梅格·瑞恩）手錶將其寫入山姆（湯姆·漢克斯飾）邀請他來滿足她的帝國大廈，順便加里·格蘭特和德博拉·克爾企圖的前上方在他們的電影在情人節。當他們在觀景台終於遇見心儀，從主題情天長恨驟升，設置的心情對任何人有良好的rom-coms. -邦妮Stiernberg升值

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27朱諾
年份： 2007 導演：賈森·雷特曼 已經取得了很多關於暗黑科迪主義的滲透腳本，但對心臟朱諾是艾倫·佩姬，她來到條款與她的感情邁克爾劍橋能源研究協會。當然，這需要懷孕為她實現她的夢想的人是在黃色短褲的窩囊廢，但隨後，在字符朱諾不像正常的人反正。佩奇的重型起重當之無愧奧斯卡nomination. -傑里米麥地那的每一點

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26紫玫瑰開羅。
年份： 1985 導演：伍迪•艾倫 艾倫說了很多次開羅的紫玫瑰是他最喜歡的電影，他的導演之一，而且這也難怪，這是他最甜美，最富有想像力的電影日期。米亞·法羅在這13部影片，她與阿倫提出交付她最好的表現，打一個孤獨的女人誰逃脫的電影通過她最喜歡的演員，活出她的幻想。即使當瀟灑的湯姆巴克斯特（一個年輕的傑夫·丹尼爾斯）走出屏幕，進入她的生活，她讓她的情緒和期望的檢查：“我只是遇到了一個美妙的新好男人。他是虛構的，但你不能擁有一切。“ 紫玫瑰異想天開地朝著腸痛苦，祭文最後一槍，它提醒我們，為什麼我們去看電影擺在首位構建：以dream.-傑里米·梅迪納

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25一線希望Playbook的
年份： 2012 導演：大衛羅素 隨著引線獲獎庫珀和勞倫斯，以及巧妙而真誠的對話，羅素的簽名組合，掛鉤設置。每一個細節都不會凝膠克里斯·塔克的丹尼，從處理設施帕特JR的越獄傾向的朋友，角色似乎有點多餘，但它並不需要。由舞蹈比賽結局的結尾（是的，有那個），觀眾，演員和導演都是完全一樣的頁面，這是羅素的playbook. -邁克爾•布爾金

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24育嬰。
年份：1938 導演：霍華德·霍克斯 一個奇妙喜劇，的教科書的例子育嬰發現卡里·格蘭特的歡快緊張的古生物學家大衛·赫胥黎博士在努力保持自己的生活在一起的時候亂的妖冶劑是凱瑟琳·赫本的蘇珊萬斯來到撞上了他的生命。添加在涉及嬰兒豹，一個崩潰的雷龍骨架和一些靈巧地執行預MPAA性影射有心計，你有沒有只有一個有史以來最好的浪漫喜劇，但最有趣的美國電影有史以來made.嘜Rozeman 1

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夏23（500）天
年份： 2009 導演：馬克·韋布 “這是男孩遇見女孩的故事。但是你應該事先知道，這不是一個愛情故事，“吟誦的畫外音在這個苦樂參半的浪漫喜劇的開始。真正的那些話，展現什麼是不太亮，日照-Y敘事的電影充滿活力的色彩頻譜顯示。顛覆典型的ROM-COM的概念，夏承認了所有太真實想法，有時候，沒有明確的節奏或理由，一個關係可以只是不工作了-不管你想要它有多嚴重。本片的非線性結構-這跳來回名義的500天夫婦的首次會議，他們的終止和的地步，主角湯姆（約瑟夫·高登-萊維特），終於可以用自己的生命前進的-有助於強調浪漫關係的微妙性，以及如何感知意味著一切。說到感知，誰一直沒有在如此準確地顯示在影片的毀滅性“期望與現實”序列中的位置？

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22女友禮拜五。
年份： 1940 導演：霍華德·霍克斯 從廣受好評的戲劇改編的頭版，女友禮拜五是一款經典的犀利，機智的對話匹配舊編輯部的。這個侃侃而談的編輯器，由始終迷人的加里·格蘭特扮演，認識到真正的新聞人才，竭盡全力讓他的最好的記者，覆蓋主要的story. -邦尼Stiernberg

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21研究生。
年份： 1967 導演：邁克·尼科爾斯 在那些領導到現實世界中，一個超來完成剛剛畢業（達斯汀·霍夫曼）在他未來的前景恐慌和無可爭議的王者電影落入與外遇父親的生意夥伴（安妮·班克羅夫特）的更老的妻子。它有助於界定一個世代的歷史早已經過防腐處理，但嚮往感的替代還沒有aged.-杰弗裡紕漏