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).

 

20. Chasing Amy
Year: 1997
Director: Kevin Smith
Anyone who has listened to enough hours of Kevin Smith’s podcasts or lengthy Q&A sessions knows that, behind his perpetual potty-mouth and flashes of egomania, Smith is a big softie at heart. After two films that reveled in crass slackerdom lifestyles (Clerks and Mallrats), Smith honed his writing voice for his third feature, Chasing Amy. The film stars Ben Affleck as an amateur comic book artist named Holden whose life is thrown awry when he meets a beautiful and vibrant girl named Alyssa (played by Smith’s then-girlfriend Joey Lauren Adams) and instantly falls in love. The problem? Alyssa is a lesbian. Crushed but still determined to spend time with her, Holden develops a close friendship with Alyssa, eventually telling her how he feels with the kind of speech that anyone who has ever experienced a hurtful bout of unrequited love has tossed around in their minds but never found the words to express.—Mark Rozeman

 
19. Bridget Jones’s Diary
Year: 2001
Director: Sharon Maguire
Diehards may have been initially miffed at her casting, but Renée Zellweger was crucial to the movie’s success. She’s boundlessly charming as Bridget Jones, gaining 20 pounds to play the British singleton who falls for Hugh Grant and (eventually) Colin Firth. From her appalling bad public speeches to lip-synching to Sad F.M. songs in her pajamas, Zellweger carries the film on her (still slender) shoulders.—Jeremy Medina

 
18. Knocked Up
Year: 2007
Director: Judd Apatow
Sure, there’s a graphic scene involving a baby coming out of a womb. Yes, there’s nudity and plenty of expletives. And okay, it is sort of strange how a schlub like Seth Rogen can get a girl like Katherine Heigl. Even so, there’s an inherent sweetness to Knocked Up that make it such a pleasure to watch. Judd Apatow’s treatment of the supporting characters, like Paul Rudd and Leslie Mann, also help catapult the film into one of the genre’s very best.—Jeremy Medina

 
17. The Shop Around the Corner
Year: 1940
Director: Ernst Lubitsch
If the history of the romantic comedy has taught us anything, it’s that nothing makes for a better rom-com than seeing a couple who has spent the majority of the film actively hating each other realize that they are actually soulmates. That’s certainly the case with The Shop Around the Corner, legendary director Ernst Lubitsch’s 1940 comedy about two rival employees at a Budapest gift shop who—unbeknownst to them—have been carrying on a flirty correspondence via mail. This film marked the high point of Jimmy Stewart and Margaret Sullivan’s four collaborations together. What’s more, replace the mail correspondence with an email correspondence and replace Jimmy Stewart with Tom Hanks, our modern-day Jimmy Stewart, and you have the 1998 remake, You’ve Got Mail.—Mark Rozeman

 
16. Love Actually
Year: 2003
Director: Richard Curtis
When it comes to portraying love confessions of all varieties, very few can beat the kind on display in Richard Curtis’ epic romantic comedy Love Actually. In one of the many romantic threads, Juliet (Keira Knightley), a recently married woman, has just discovered that her husband’s best friend Mark (Andrew Lincoln) has been nursing a secret crush on her. One night, he arrives at their front door and silently delivers his long repressed feelings via hand-drawn cue cards. While certainly sweet and heart-warming, the inherent sadness that pervades this scenario—such a relationship can never work out between the two—prevents the exchange from being overly saccharine.—Mark Rozeman

 
15. Pretty Woman 
Year: 1990
Director: Garry Marshall
Sure, from a feminist perspective, the implication that the only way our favorite hooker with a heart of gold (Julia Roberts) can stop turning tricks and make something of herself is to find a wealthy businessman who needs a fake girlfriend (Richard Gere) is problematic to say the least. And yes,Pretty Woman is formulaic—it’s basicallyCinderella with pimps instead of evil stepsisters and Jason Alexander as The Skeptical Best Friend—but the class issues it raises are what make it one for the ages. Vivian is bold, unwilling to pretend to be something she’s not, and when she’s wronged by bougie Rodeo Drive store employees, she makes sure they know it, dropping a memorable “BIG mistake. Big. Huge! I have to go shopping now” on them all while rocking an incredible floppy hat. Roberts turns in a career-making performance, bringing charm (along with thatfamous cackle) to a role that might’ve played as unsympathetic in different hands. (Additional bonus points for inspiring our favorite Donald Glover tweet ever)—Bonnie Stiernberg

 
14. Sixteen Candles
Year: 1984
Director: John Hughes
It’s the movie that made Molly Ringwald a star, and rightfully so: as Samantha, the everywoman whose parents forgot her birthday and whose crush doesn’t know she exists, she appeals to the angsty high-schooler yearning to be seen in all of us. Samantha’s undeniably middle-of-the-road—she’s not popular, but she’s not a geek; her home life is messy, but it’s not dysfunctional—and that gives her mass appeal, so much so that her story’s become sort of a modern fairy tale, the American Dream of teen romantic comedies.—Bonnie Stiernberg

 
13. Harold and Maude
Year: 1971
Director: Hal Ashby
The original Daily Variety review begins ”’Harold and Maude’ has all the fun and gaiety of a burning orphanage.” History has been kinder. Though it may be the darkest film on this list, Harold and Maude is certainly a romantic comedy. Young Harold (Bud Cort) and 79-year-old Maude (Ruth Gordon) do find love. And it is wickedly funny as Harold finds increasingly more gruesome ways to scare off the suitors sent by his mother. But Hal Ashby’s masterpiece is unlike anything we’ve seen before or since its 1971 release, and Gordon is brilliant as the manic pixie dream septuagenarian. Just don’t go in expecting a happily ever after.—Josh Jackson

 
12. Moonrise Kingdom
Year: 2012
Director: Wes Anderson
Wes Anderson’s films can come off as chilly and detached, but Moonrise Kingdom exudes a warmth and innocence generated by the earnest adolescent romance at its core. The year is 1965, and the sleepy New England island of New Penzance is stirred to action when Khaki Scout Sam Shakusky (Jared Gilman) and local resident Suzy Bishop (Kara Hayward) run away together. Sam’s fellow Scouts dislike him, and his foster parents don’t want him back. But Sam is full of surprises: He’s a quite skilled outdoorsman, and when he reunites with the mod girl with whom he’s been exchanging letters for a year, he matter-of-factly hands her a bouquet of wildflowers and begins imparting survival tips. Likewise, Suzy is an unexpected rebel with a volatile streak that upsets the balance among her lawyer parents (Bill Murray and Frances McDormand) and three little brothers. Delightfully, Anderson and co-writer Roman Coppola avoid clichés at every opportunity. The forces that would typically work to tear Sam and Suzy apart instead rally behind them, perhaps infected by the conviction of their love, which never wavers, even in argument: “I love you, but you don’t know what you’re talking about.” Moonrise Kingdom is whimsical and, yes, precious, but only in the very best sense of the word.—Annlee Ellingson

 
11. The Apartment
Year: 1960
Director: Billy Wilder
Filmmaker Billy Wilder had perhaps one of the greatest, most diverse track records in film history from 1944 to 1960. In this period, he tackled an Oscar-winning drama about alcoholism (The Lost Weekend), two well-regarded film noirs (Double Indemnity, Sunset Boulevard), a war drama (Stalag 17), two light-hearted rom-coms (Sabrina,Seven Year Itch) a gripping murder-mystery (Witness for the Prosecution) and perhaps the funniest American movie of all time (Some Like It Hot). Yet, of all these golden credits, one Wilder’s most beloved and memorable achievements was 1960’s The Apartment. The film has its genesis in Wilder’s first screening of the 1945 David Lean film Brief Encounter, which centers on a married man and woman contemplating an affair. The director reportedly became intrigued during a scene where the two rendezvous at a friend’s apartment. Ignoring the film’s inherent drama, Wilder wondered what kind of person would knowingly rent out their apartment for extramarital liaisons. Thus, the plot for The Apartment was birthed. Jack Lemmon plays C.C. Baxter, an ambitious office worker who, desperate to climb the corporate ladder, allows his bosses to use his apartment to carry on discreet affairs with their mistresses. Things get complicated, however, when he discovers that his office crush, quirky elevator operator Fran Kubelik (Shirley MacLaine), is one of his bosses’ mistresses. While certainly not the funniest film on this list—it actually gets quite dark at times—The Apartment strikes a perfect balance between laugh-out-loud comedy and emotionally honest drama. Following the career highlight that was his drag-heavy performance in Some Like It Hot, Lemmon here proves that he can play the low-key, straight man with equal dexterity. Likewise, MacLaine’s charming portrayal as the damaged, yet lovable Kubelik would provide the model for manic pixie dream girls for years to come. —Mark Rozeman

 
10. Four Weddings and a Funeral
Year: 1994
Director: Mike Newell
The first of several Richard Curtis-penned rom-coms starring Hugh Grant, Four Weddings and a Funeral follows our favorite bumbling Englishman as he repeatedly runs into the love of his life at—you guessed it—four weddings and a funeral. While much of the movie is lighthearted and some of it borders on cheesy (see Andie MacDowell’s infamous “Is it still raining? I hadn’t noticed” line in its finale), its graver moments, like Fiona (Kristen Scott Thomas) dealing with unrequited love or the titular funeral, remind us that love may be goofy and complicated and wonderful, but finding that one true love is serious business. The Academy agreed, nominating the film for Best Picture in a stacked year that included Forrest Gump, Pulp Fictionand The Shawshank Redemption.—Bonnie Stiernberg

 
9. High Fidelity
Year: 2000
Director: Stephen Frears
It’s no coincidence Nick Hornby wrote both About a Boy and High Fidelity, and both movie adaptations show up on this list (let’s ignore Fever Pitch for the time being). Hornby really is tapped into the psyche of the 20th century male. John Cusack plays the every-man type who retraces his past girlfriend history only to find he let the perfect woman slip through his fingers. Funny, insightful and insanely quotable, High Fidelity plays like an ultra-hip Woody Allen movie, which is a very good thing indeed.—Jeremy Medina

 
8. The Philadelphia Story
Year: 1940
Director: George Cukor
There are so many classic screwball comedies where Cary Grant plays the charming ex-husband who (spoiler alert) wins back his wife (see also: His Girl Friday, My Favorite Wife to name a few), that at this point they almost constitute a subgenre. ButThe Philadelphia Story remains the best due largely to its dynamite cast. Grant’s completely in his element as the boozy, one-liner machine C.K. Dexter Haven. Jimmy Stewart’s smack dab in the middle of his wheelhouse as sweet everyman Mike Connor, and Katherine Hepburn shines as Tracy, who must decide between the glamourous bad boy or the safe alternative. We all know who she winds up with, but it’s still a blast watching her get there.—Bonnie Stiernberg

 
7. Say Anything
Year: 1989
Director: Cameron Crowe
In his directorial debut, Cameron Crowe places one of the all-time charming film courtships within that strangely insular time, mid-transition, between high school and college (or career or family). In Lloyd Dobler, the defining role of John Cusack’s career, Crowe presents an appealing, convincing everyman whose pursuit of a girl (Ione Skye), supposedly out of his league, reveals how foolish such handicapping can be in the first place. Though Crowe would go on to create a number of career-launching roles for women (Renee Zellweger and Kate Hudson should thank him, daily), in Say Anything, Dobler rules.—Michael Burgin

 
6. Eternal Sunshine of the Spotless Mind
Year: 2004
Director: Michel Gondry
Michel Gondry’s debut feature, Human Nature, was a whimsical dud, but his follow-up suggested a mature, disciplined director with his playful side intact. Eternal Sunshine of the Spotless Mindtraffics in his signature sleights of hand, which serve two touching and tragic love stories: between red-haired Kate Winslet and a supremely sad Jim Carrey, and between headstrong Kirsten Dunst and a pining Mark Ruffalo. All of their performances—including Gondry’s—stay in your memory long after the credits have rolled.—Stephen Deusner

 
5. Manhattan
Year: 1979
Director: Woody Allen
Gorgeously shot in black-and-white and set against a backdrop of Gershwin’s “Rhapsody in Blue,” Allen’s ode to the city that never sleeps is a profound meditation on love and loss. Allen, Diane Keaton and Michael Murphy play jaded, self-absorbed adults who over-think and over-analyze every aspect of life. Mariel Hemingway beautifully plays Tracy, the young girl in love with Allen and the only character who is honest about her feelings, the only one with the capacity to love whole-heartedly. The other characters are too delicate, too bruised, and too cynical. When Tracy tells him “you have to have a little faith in people” in the film’s touching final scene, our hearts melt a little—love may be fragile and fleeting, but it’s worth the risk every time. Romantic, witty and bittersweet, Manhattan is impeccably crafted, and stands tallest among Allen’s multitude of towering achievements.—Jeremy Medina

 
4. The Princess Bride
Year: 1987
Director: Rob Reiner
Quite possibly the most perfectly executed transformation of a beloved book to a beloved film in the history of the sport. A family-friendly “kissing movie” with pitch-perfect performances by the entire cast—from main character to bit player—The Princess Bride is the most relentlessly quotable film anywhere this side of Monty Python and their Holy Grail. Though regarded warmly enough by critics, its status as comedic fable ensures it is criminally underrated on most lists. Inconceivable? Alas, no. But unfair, nonetheless.—Michael Burgin

 
3. Amélie
Year: 2001
Director: Jean-Pierre Jeunet
A delicate, delicious little French trifle, Amélie is easily the most romantic film on this list. The adorable Audrey Tautou launched herself into the American consciousness as the quirky do-gooder waitress who sends her secret crush photos and riddles masking her identity in order to make their first encounter—and first kiss—the most romantic moment of her life. Endlessly imaginative and beautifully photographed, Amélie is a film to be treasured.—Jeremy Medina

 
2. When Harry Met Sally
Year: 1989
Director: Rob Reiner
Easily the most beloved romantic comedy of the ‘80s, the story of Harry (Billy Crystal), Sally (Meg Ryan) and their 12-year journey to couple-hood boasts a solid script by Nora Ephron that feeds and feeds off of the unexpected chemistry between its leads. (And with each new generation of lovers watching the diner scene for the first time, another woman laughs and another man sits silently, wondering what’s so funny.)—Michael Burgin

 
1. Annie Hall
Year: 1977
Director: Woody Allen
Annie Hall is the sole best picture winner in Woody Allen’s canon. The film is also one of the best romantic comedies ever, simply because it takes the time to show all of the moments that happen in a relationship—the wide spectrum of happy and sad, of bittersweet and just plain bitter. From fighting over which movie to see, to laughing while chasing down lobsters in the kitchen, Allen perfectly encapsulates the delicate beauty found in the highs and lows of a relationship. It doesn’t hurt that his wit and humor is perfectly matched by Diane Keaton, in her iconic, Oscar-winning performance. Funny with a perceptively intellectual undercurrent, Annie Hall is an enduring classic.—Jeremy Medina

 

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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20追逐Amy
年份： 1997 導演：凱文·史密斯 任何人誰聽了足夠的時間的凱文·史密斯的播客或冗長的問答環節都知道，後面他的永久便盆口和自大狂的閃爍，史密斯是個大軟蛋的心臟。兩部電影，在粗魯slackerdom生活方式（陶醉之後辦事員和Mallrats），史密斯磨練了他為他的第三個特點寫作的聲音，追逐艾米。影片的主演本·阿弗萊克的命名霍頓，其壽命是歪拋出時，他遇到一個名為阿莉莎一個美麗和充滿活力的女孩（由史密斯當時的女友喬伊·勞倫·亞當斯飾），並立即愛上一個業餘漫畫家。問題？賈靜雯是一個女同志。壓碎，但仍然決定花時間陪她，霍頓發展親密的友誼與賈靜雯，終於告訴她他的感受的那種言論，任何人誰曾經經歷了傷人的回合單戀已就四處在他們的心目中，但從來沒有發現的話來express.嘜Rozeman

 

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19 BJ單身日記
年份： 2001 導演：莎朗馬奎爾 頑固派可能已開始惱火她的鑄造，但蕾妮·齊薇格是至關重要的電影的成功。她無限嫵媚的布里奇特·瓊斯，獲得20磅打英國的單身誰愛上了休·格蘭特和（最終）科林弗斯。從她的令人震驚的壞公開演講，以假唱悲傷的FM歌曲在她的睡衣，齊薇格進行了（仍然纖細）shoulders. -傑里米·梅迪納電影

 

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18一夜大肚
年份： 2007 導演：賈德·阿帕圖 當然，有一個圖形場景涉及嬰兒走出了子宮。是的，有裸露鏡頭和大量的咒罵的。和好了，這是有點怪像塞斯羅根一schlub怎樣才能得到一個女孩喜歡凱瑟琳·海格爾。即便如此，有一個內在的甜頭敲起來，使人們這樣一個讓人賞心悅目。賈德·阿帕圖的處理的配角，像保羅·路德和萊斯利·曼恩，也有利於彈射片成流派的非常best. -傑里米·梅迪納之一

 

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17該中心每個角落。
年份： 1940 導演：恩斯特·劉別謙 如果浪漫喜劇的歷史告訴我們什麼，那就是沒有什麼讓一個更好的ROM-COM比看到誰花了大部分積極恨這部電影的一對夫婦對方意識到，他們實際上是知音。這當然與案件在即店，傳奇導演恩斯特·劉別謙的1940喜劇，講述兩個敵對的員工在布達佩斯禮品店誰，不知道的他們，已經通過郵件攜帶一個輕浮的對應關係。這部影片標誌著高點吉米·斯圖爾特和瑪格麗特蘇利文四個一起合作的。更重要的是，與電子郵件通信取代電子郵件通信和替換吉米·斯圖爾特與湯姆·漢克斯，我們的現代吉米·斯圖爾特，你有1998年的翻拍，你有郵件。嘜Rozeman

 

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16真的戀愛了。
年份： 2003 導演：理查德·柯蒂斯 當談到刻畫各品種的愛情告白，很少能擊敗樣陳列在理查德·柯蒂斯“史詩般的浪漫喜劇愛情其實。在許多浪漫的一個線程，朱麗葉（凱拉·奈特利），最近結婚的女人，剛發現她的丈夫最好的朋友馬克（安德魯·林肯）一直照料一個暗戀她。一天晚上，他來到他們的門前，默默地透過手繪提示卡提供了長期壓抑的感情。雖然肯定甜蜜和心臟變暖，固有的悲傷瀰漫在這種情況下，這種關係不能計算出兩者之間，防止交換從過分saccharine.嘜Rozeman

 

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15麻雀變鳳凰。
年份：1990 導演：加里·馬歇爾 當然，從女性主義的角度來看，其含義是我們最喜歡的妓女用金子般的心臟（朱莉婭·羅伯茨）的唯一方法可以停止轉動技巧，使自己的東西的是找到一個有錢的商人誰需要一個冒牌女友（李察基爾）是有問題的，至少可以說。是的，漂亮的女人是公式化的，它基本上是灰姑娘與皮條客，而不是邪惡的姊姊和賈森·亞歷山大作為的懷疑最好的朋友，但它提出了階級問題是什麼使這一個是年齡。維維安是勇敢的，不願意假裝要的東西她不是，當她委屈了探條羅迪歐大道店的員工，她可以確保他們知道這一點，放棄一個難忘的“大錯誤。大。巨大的！我要對他們都去購物“ ，而搖動一個令人難以置信的軟盤帽子。羅伯茨變成了一個職業生涯有所表現，帶來的魅力（連同著名的咯咯聲）給可能已經打在不同的手中絕情的作用。（額外獎勵積分激勵我們最喜歡的唐納德·格洛弗鳴叫有的話），邦妮Stiernberg

 

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14十六蠟燭。
年份： 1984 導演：約翰·休斯 就這麼使莫莉Ringwald明星的電影，這是理所當然的：作為薩曼莎，其父母忘了她的生日和他們的美眉不知道她的存在的everywoman，她呼籲angsty高中生渴望看到在我們所有的人。中間-的道路，她薩曼莎的不可否認的是不是受歡迎，但她不是一個怪胎; 她的家庭生活是混亂的，但它不是不正常的，這給了她的群眾訴求，以至於她的故事已經成為一個現代童話的排序，青少年的浪漫comedies. -邦妮Stiernberg美國夢

 

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13哈羅德和莫德
年份： 1971 導演：哈爾比 原來的每日綜藝評審開始“”哈羅德和莫德“有一個燃燒的孤兒院所有的樂趣和歡樂。”歷史已經親切。雖然它可能是這個名單上最黑暗的電影，哈羅德和莫德肯定是一部浪漫喜劇。年輕的哈羅德（芽科特）和79歲的莫德（露絲·戈登）做尋找愛情。它是惡有趣，哈羅德發現越來越多可怕的方式來嚇跑由他的母親送來的追求者。但是哈爾比的代表作是完全不同於我們以前或以後其1971年發布見過，和戈登是輝煌的狂躁精靈夢年逾古稀。只是不要去期待一個幸福快樂的日子after. -喬希·傑克遜

 

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12月出王國
年份： 2012 導演：韋斯·安德森 韋斯·安德森的電影可以脫落的寒冷和超脫，但月出王國散發著溫暖和純真的認真青少年浪漫為核心產生的。這一年是1965年，而新彭贊斯昏昏欲睡新英格蘭島上攪拌動作時，卡其童子軍山姆Shakusky（賈里德吉爾曼）和當地居民蘇茜主教（卡拉海沃德）逃跑在一起。山姆的同胞童子軍不喜歡他，和他的養父母不想讓他回來。但Sam是充滿驚喜：他是一個非常熟練的戶外活動，當他團聚與國防部的女孩與他一直在交換的信件了一年，就事論事，實事求是地，他遞給她一束野花，並開始傳授生存技巧。同樣地，蘇茜是一個意外的反叛與揮發性連勝的擾亂她的律師的父母（比爾·默里和法蘭絲麥杜曼）和三個小兄弟間的平衡。興高采烈，安德森和聯合作家羅曼·科波拉避免陳詞濫調的每一個機會。這通常工作撕山姆和蘇茜隔閡的力量，而不是團結在他們身後，也許感染了信念的熱愛，從未動搖，即使在爭論：“我愛你，但你不知道你在說什麼關於“ 月出王國是異想天開，是的，珍貴的，但只有在word.-Annlee伊林森的最好的感覺

 

11的公寓。
年份： 1960 導演：比利·懷爾德 電影製作人比利·懷爾德有可能在電影歷史上最偉大，最多樣化的紀錄1944年至1960年1在此期間，他解決有關酗酒的奧斯卡獲獎劇（失去的週末），兩個備受推崇的電影比諾（雙倍賠償，日落大道），一戰劇（戰地軍魂17），兩個輕鬆的rom-com公司（薩布麗娜，七年之癢）扣人心弦的神秘謀殺案（控方證人）和也許是有史以來最有趣的美國電影（熱情似火）。所有這些黃金學分然而，一懷爾德最心愛的和令人難忘的成績是20世紀60年代的公寓。這部電影有它在懷爾德的第一個1945年的大衛·里恩電影放映起源相見恨晚，它集中在一個已婚男人和女人考慮的事情。導演在場景據說成為了好奇，其中兩個會合在一個朋友的公寓。忽略了影片的內在戲劇，懷爾德想知道什麼樣的人會故意租出去的公寓婚外聯絡員。因此，對於情節的公寓是birthed。傑克·萊蒙扮演CC巴克斯特，一個雄心勃勃的上班族誰，不顧一切地爬上企業階梯，讓他的老闆利用他的公寓進行謹慎的事務，他們的情婦。事情變得複雜，然而，當他發現他的辦公室美眉，離奇的電梯操作員弗蘭庫貝利克（雪莉·麥克雷恩），是他老闆的情婦之一。雖然肯定不是這對有趣的電影列表，它實際上變得很暗，有時，該公寓罷工笑出大聲的喜劇和情感誠實戲劇之間的完美平衡。隨著職業生涯的亮點，這是在他拖重的表現熱情似火，萊蒙這裡證明他可以打低調，直男子平等的靈巧。同樣，麥克雷恩迷人的寫照作為受損，但可愛的庫貝利克將提供模型狂躁精靈夢想的女孩幾年來。嘜Rozeman

 

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10四個婚禮和一個葬禮
年份：1994 導演：邁克·紐厄爾 第幾理查德·柯蒂斯操刀的rom-com公司主演休·格蘭特，四個婚禮和一個葬禮遵循我們最喜歡裝模作樣的英國人，因為他多次在跑入了他生命中的愛-你猜對了四個婚禮和一個葬禮。雖然大部分的電影是輕鬆愉快的和它的一些近乎俗氣（見安迪·麥克道威爾的臭名昭著的在其“是不是還在下雨嗎？我沒有注意到”行大結局），其雕刻刀的時刻，像菲奧娜（克里斯汀·斯科特·托馬斯）處理單戀或名義的葬禮，提醒我們，愛可能是愚蠢的，複雜的和美好的，但要找到那一個真正的愛情是嚴肅的事情。該學院同意，提名電影最佳影片的堆疊一年，包括阿甘，低俗小說和肖申克的救贖。，邦尼Stiernberg

 

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9高保真。
年份： 2000 導演：斯蒂芬·弗雷斯 這並非巧合尼克·霍恩比寫了兩個關於一個男孩和高保真，無一不電影改編出現在此列表中（讓我們忽略極度狂熱暫時）。霍恩比真正的挖掘到了20世紀男性的心理。約翰·庫薩克扮演誰回顧他過去的女朋友的歷史才發現，他讓完美的女人通過他的手指打滑的每個人的類型。搞笑，有見地和瘋狂可引用，高保真演奏像一個超髖伍迪艾倫的電影，這是一件非常好的事情indeed. -傑里米麥地那

 

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8費城故事。
年份：1940 導演：喬治·丘克 有這麼多經典的怪僻喜劇，其中加里·格蘭特扮演著迷人的前夫誰（擾流器警報）贏回他的妻子（參見：女友禮拜五，我最喜愛的妻子命名數），在這一點，他們幾乎構成了一個體裁。但費城故事仍然是最好的主要原因是其炸藥演員。格蘭特的完全在他的元素為酒醉，一個班輪機CK德克斯特避風港。吉米·斯圖爾特在他的駕駛室甜普通人邁克·康納和凱瑟琳·赫本的中間嫌民建聯眼前一亮的特雷西，誰必須富有魅力的壞小子或安全的替代品之間做出決定。我們都知道是誰，她纏了上來，但它仍然是一個爆炸看著她得到there. -邦尼Stiernberg

 

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7吭聲。
年份： 1989 導演：卡梅倫·克羅 在他的導演處女作，卡梅倫·克羅會將所有時間迷人的電影求愛的一個奇怪的島嶼時，中間的過渡，高中，大學（或事業或家庭）之間的範圍內。在勞埃德多布勒，約翰·庫薩克的職業生涯的決定性作用，克勞提供了一個有吸引力的，有說服力的普通人，其追求一個女孩（Ione以斯凱），據說他的聯賽，揭示了這種愚蠢的設限可以擺在首位。雖然克勞將繼續打造一批婦女職業生涯發射的角色（蕾妮·齊薇格和凱特·哈德森應該感謝他，每日），在說什麼，多布勒rules. -邁克爾•布爾金

 

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6，永恆的美麗心靈的陽光
年份： 2004 導演：米歇爾·岡瑞 米歇爾·岡瑞的處女作，人性，是一個異想天開的啞彈，但他的後續建議一個成熟的，有紀律的導演，他俏皮的一面完好無損。的一塵不染的永恆陽光心靈流量在他的簽名斯萊茨的手，這有兩個感人的悲劇愛情故事：紅頭髮的凱特·溫斯萊特和一個超級悲傷的金凱瑞之間，和之間的任性柯爾斯滕·鄧斯特和消瘦馬克魯法羅。他們所有的演出，包括Gondry's，留在你的記憶很久以後的學分都rolled. -斯蒂芬Deusner

 

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5曼哈頓。
年份： 1979 導演：伍迪·艾倫 拍攝華麗的黑色和白色的和反對的格甚溫的背景“藍色狂想曲”，阿倫的頌歌不夜城的城市是愛與失去了深刻的冥想。艾倫，黛安·基頓和邁克爾·墨菲扮演厭倦，自行吸收成年人誰過分相信和過度分析生活的方方面面。瑪利爾海明威精美扮演特雷西，年輕的女孩愛上了阿倫，誰是誠實的關於她的感覺，唯一一個與愛全心全意的能力的唯一字符。其他人物都太細膩，太傷痕累累，太憤世嫉俗。當特雷西告訴他“你得有一點信心的人”，在電影的感人最後一幕，我們的心融化了一點，愛可能是脆弱的，短暫的，但它的每一次值得冒這個險。浪漫，詼諧，酸甜苦辣，曼哈頓是無可挑剔的製作，並隨時最高艾倫之間的眾多高聳的achievements. -傑里米·梅迪納

 

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4，公主新娘
年份： 1987 導演：羅伯·雷恩 很可能是最完美執行轉型的心愛的書在體育史上的一個心愛的電影。一個家庭友好的“親吻電影”與間距完美的表演，整個劇組，從主角到龍套- 公主新娘是最無情可引用電影巨蟒和聖杯的任何地方這一邊。雖然被熱烈足夠的批評家，其作為幽默寓言狀態，確保它在列表最被低估的刑事責任。不可思議？唉，沒有。但不公平的，nonetheless. -邁克爾•布爾金

 

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3天使愛美麗
年份： 2001 導演：讓-皮埃爾·熱內 細膩，美味的法國小小事，天使愛美麗很容易這份榜單上最浪漫的電影。可愛的奧黛麗·塔圖推出自己入美國意識的古怪做好人女服務員誰送她暗戀的照片和謎語，為了掩蓋她的身份，使他們的第一次相遇，她的生活中的第一個吻，最浪漫的時刻。無盡想像力和精美的拍攝，天使愛美麗是一部電影要treasured.，傑里米麥地那

 

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2當哈利遇見莎莉。
年份： 1989 導演：羅伯·雷恩 輕鬆最心愛的浪漫喜劇80年代，哈里（比利·克里斯托）的故事，莎莉（梅格·瑞恩）和他們的12年征程夫婦罩擁有一個由諾拉依弗朗堅實的腳本，飼料和飼料關閉其導線之間的意想不到的化學。（而隨著每一代新戀人觀看晚餐的場景，第一次的，另一個女人笑和另外一個人靜靜地坐著，不知道有什麼好笑的。），邁克爾•布爾金

 

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1，安妮·霍爾
年份： 1977 導演：伍迪·艾倫 安妮·霍爾是唯一的最好的圖片贏家伍迪·艾倫的經典。這部電影也是最好的浪漫喜劇有史以來之一，只是因為它需要時間來證明一切發生在快樂與悲傷的關係，種類廣泛酸甜苦辣，只是普通的苦，剎那。從戰鬥過，看哪個電影，到一邊追下來龍蝦在廚房裡笑，艾倫完全封裝在一個關係的高點和低點找到了細緻的美。它不會傷害他的機智和幽默是完全由黛安基頓匹配，在她的偶像，奧斯卡獲獎的性能。滑稽與敏銳的智力暗流，安妮·霍爾是一個持久的classic.，傑里米·梅迪納