10 Top Pick Romantic Comedies on Netflix

10  Top Pick Romantic Comedies on Netflix
The weekend is rolling in, time for movie nights with family / significant others, but you just cant figure out what to watch.

We know ladies love romantic movies, but those can tend to put the men to sleep quicker than they start. The movie industry’s answer to this problem? ROMANTIC COMEDIES!

Enough sappy love moments for the ladies and cracking good humor for the men.


Here are our top 10 Rom-Coms available on Netflix

50 First Dates

50 First Dates is that one movie that’ll make you remember that Adam Sandler movies are awesome to watch. A romantic comedy with Drew Barrymore, Sandler plays the role of a playboy vet Henry who fancies about romancing Lucy, but he needs to play hard because she has short-term memory loss and her family is very protective. Go stream this sweet and funny movie on Netflix right now!


Seeking a Friend for the End of the World

In New York City, a broadcast informing the world that a mission to stop an incoming asteroid has failed, and  the asteroid will make impact in three weeks, destroying all life on Earth. Dodge (Steve Carell) and his wife Linda (Nancy Carell) listen to the broadcast from the side of the road.


Drinking Buddies

If you feel compelled to go full indie and can’t stand love stories with tidy, happy endings, Drinking Buddies should be your pick. It’s an unconventional romance in that most of the characters never commit to the relationships or infidelities we expect them to. Instead, it’s about temptation, the lies we tell ourselves in a relationship and the boundaries between friendship and romantic feelings. A scion of—but not full-fledged entry into—the mumblecore genre, its largely improvised dialog lends an air of reality to the conversations, but those expecting typical genre conventions may find themselves perplexed when you don’t get anything resembling the “wedding bells” ending of the typical romantic comedy.


Sing Street

Sing Street spins art out of history, but you might mistake it for pop sensationalism at first glance. If so, you’re forgiven. In sharp contrast to John Carney’s breakout movie, 2007’s sterling adult musical Onceegin AgainSing Street aims to please crowds and overburden tear ducts. There’s a sugary surface buoyancy to the film that helps the darkness clouding beneath its exterior go down more easily. Here, look at the plot synopsis: A teenage boy living in Dublin’s inner city in 1985 moves to a new school, falls in love with a girl, and forms a band for the sole purpose of winning her over. If the period Carney uses as his storytelling backdrop doesn’t make Sing Streetan ’80s movie, then the mechanics of its story certainly do. You may walk into the film expecting to be delighted and amused. The film won’t let you down in either regard, but it’ll rob you of your breath, too.


I Give It a Year

2013 romantic comedy movie, is an unpredictable love story between two newlyweds played by  Rose Byrne and Rafe Spall who tie knot  in haste and learn that their marriage is starting to fall apart.  Watch  the story of this romantic comedy on Netflix yourself!


 Me and You and Everyone We Know

Not a single character in Me and You and Everyone We Know acts his age. A father lights his hand on fire to glean smiles from his kids. A fat, middle-aged nobody pens horny notes to teenage girls on his living room window and timidly ducks out of frame. And a little girl stores dishes and dolls in a war chest as her future husband’s dowry. The film is a romantic dramedy set between a lowly shoe salesman (John Hawkes) and a fledgling video artist/cab driver for the elderly (Miranda July). Thrown into the mix are a slew of other deviants. Amazingly, first-time feature director, writer and lead Miranda July treats these offbeat behaviors with a puzzling familiarity. Borrowing from her background in multimedia art, she’s created a weirdly comfortable film for mixed audiences. It’s a quirky precursor to a significant crossover career in cinematic magical realism.


How to Steal a Million

Not all heist films are also comedies, but it seems like most of the best have at least a lot of comedy in them. Perhaps the convoluted nature of most movie capers turn humor into a necessary leavening agent? Either way this mid ‘60s William Wyler lark runs Audrey Hepburn and Peter O’Toole through a twisty art museum robbery in France. If the prospects of those two flirting deviously in 1960s Paris doesn’t immediately sell you on this one, what if I told you you’ll also get to see Eli Wallach as a rich American who tries to woo the noticeably younger Hepburn and is obsessed with Cellini’s Venus? Wyler wasn’t really known for comedies (this is the guy who made Ben-Hur and The Best Years of Our Lies) but he was known for being a pro’s pro, and here he made a stylish, sexy and sly comedy that’s as ingratiating today as it must have been 50 years ago.


Begin Again

John Carney mines familiar territory in the comedy-drama Begin Again, starring Mark Ruffalo and Keira Knightley. The writer and director of Once and Sing Streettraverses the pond to return to the music world, this time substituting Dublin for a romanticized version of New York City. It’s difficult not to compare Carney’s first two films as they both revolve around struggling singer-songwriters. Ruffalo’s character, Dan, a washed-up record producer, starts off as a Llewyn Davis rehash. He’s a disheveled mess who’s separated from his wife (Catherine Keener) and emotionally estranged from his teenaged daughter (Hailee Steinfeld). His day gets a lot worse when he’s fired from his own record label by his partner, Saul (Yasiin Bey, formerly known as Mos Def), for not discovering any new talent in years. In the midst of a bender, Dan stumbles into an East Village bar during an open mic night. Gretta (Knightley) has reluctantly been ushered onstage by her friend, Steve (James Corden), to perform one of her latest songs. No one’s really paying any attention, except Dan, who hears magic. Both Ruffalo and Knightley are perfect in their respective roles; in lesser hands, their characters could have become too predictable, too cliched.



Okay, so the message Grease leaves us with as Sandy (Oilivia Newton-John) and Danny (John Travolta) head skyward in an unexplained flying convertible—that all you need to do to get boys to like you is dress sluttier and completely change your personality—is uh…not great. But Grease never tries to masquerade as high art or relay any kind of profound mission statement beyond “being a teenager and hanging out with your friends is awesome,” and as such, it’s incredibly easy to get sucked into its fun. Come for iconic song-and-dance numbers like “You’re the One That I Want” and “Summer Nights,” stay for goofy one-liners like “if you can’t be an athlete, be an athletic supporter,” and lament the fact that your high school never had an end-of-the-year carnival.