The 2010s brought us some of the best romantic comedies ever made. During this time, we saw the blossoming of loves that have refreshed the genre of romantic comedy, and they show that romances come in different packages.
Surely these emblematic romantic comedies will occupy a very important place in the collective imagination as they once did. Pretty Woman (1990) with Julia Roberts, Eternal Sunshine of the Spotless Mind (2004), Really love (2003), If i were 30 (2004), The diaryof Bridget Jones (2001), Amélie (2001) and 500 days with her (2009), just to mention a few.
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In this list you will find the best romantic comedies of the 2010-2019 decade, those where love knocks on doors regardless of the time, sexual orientation, places and age of its protagonists. Histrions like Emma Stone, Ryan Gosling and even the deceased James gandolfini They are among the actors who made this last decade so special for romantic comedies.
Before we start with our list of the best rom-coms of the decade, the honorable mentions:
- Drinking Buddies (Joe Swanberg, 2013)
- Safety Not Guaranteed (Colin Trevorrow, 2012)
- Man up (Ben Palmer, 2015)
- Easy A (Will Gluck, 2010)
- Vinyl love (Jesse Peretz, 2018)
- Start over (John Carney, 2013)
- Scott Pilgrim vs. the ex of the girl of his dreams (Edgar Wright, 2010)
- Cyrus (Jay Duplass, Mark Duplass, 2010)
- Celeste and Jesse Forever (Lee Toland Krieger, 2012)
- Café society (Woody Allen, 2016)
- Sleeping with Other People (Leslye Headland, 2015)
Lion Heart (Dir. Marcos Carnevale, 2013)
This Argentine film added new dilemmas to love relationships. What if a woman meets the perfect man but his extremely short stature interferes with her new dynamic? Carnevale faces these and other social prejudices, the sarcastic glances around the couple and dynamited hesitations about what they will say. The story has been so successful that it already had two remakes: the French one, A tall man and the Mexican, My little great love.
Obvious Child (Dir. Gillian Robespierre, 2014)
With claps of drama, the film shows that even in the darkest and most desolate moments, hope can flourish. Before we meet Mrs. Maisel, Donna Stern, another jilted Jewish woman, takes to the stand-alone settings to talk about her broken heart. In the dark corridors of that place she meets a boy who could be a better option than her ex. Her greatest contribution is the delicacy in introducing abortion: the evolution of the issue, the understanding of other women and the vindication of the male figure in the matter.
Beginners (Dir. Mike Mills, 2010)
This romantic comedy with a dark and somewhat depressing tenor, arrives Ewan McGregor, Mélanie Laurent and Christopher Plummer, winner of the Oscar for their portrayal of a father who, after the death of his wife reveals his homosexuality, only to die shortly after. It offers us two tortured and dysfunctional “first-time” lovers, dealing with the mirages of their parents’ relationships, their childhood traumas and their penchant for loneliness. His realism is enhanced by dark humor and the charm of the puppy Arthur.
Crazy Stupid Love (Dirs. Glenn Ficarra, John Requa, 2011)
Nestled in Hollywood parameters, but with just enough twists to make it memorable. It has some scenes that have transcended the film: Emma Stone telling Ryan Gosling that her abdomen looks like a product of Photoshop; the tribute to Dirty dancing; Steve Carell having a conversation with Gosling’s genital area or the hilarious weather brawl caused by entanglements and revenge. A married couple is about to divorce, but the film is responsible for pointing out over and over again that nothing matters when soulmates are at stake.
Midnight in Paris (Dir. Woody Allen, 2011)
With echoes to The purple rose of Cairo, this film injects freshness into many of Woody Allen’s manias and fetishes. Again with characters dissatisfied with their reality, the story lets an American screenwriter (his alter ego) travel to the past to live with the intellectual cream of the 20s, in Paris. Characters such as Cole Porter, Ernest Hemingway or the Fitzgeralds give rise to filmic, musical, literary and cultural references, while commenting on pretense, snobbery, superficiality and love of art.
Love, Simon (Dir. Greg Berlanti, 2018)
Many young people identified with Simon’s existential bifurcations and celebrated his story: finally a romantic comedy from the so-called mainstream starred a homosexual boy on his journey to share his identity with the world, while sculpting his first with words. love story. Becky Albertalli’s adaptation of the novel highlights the crucial role that family and friends play in the particular structure of the romantic comedy.
Sing Street (Dir. John Carney, 2016)
John Carney is an expert at mixing romantic plots with music – he did it previously in Eleven and Start over. On Sing streetHowever, his approach to the crisis experienced in Ireland in the 80s thanks to Conor’s naivety led to one of the most beloved films of 2016. It shows a teenager who, to get the girl of his dreams, forms a band . Love is the muse of great songs, nostalgia, filmic and musical tributes, which build an emotional and innocent story but never condescending or childish.
Silver Linings Playbook (Dir. David O. Russell, 2012)
The adaptation of the novel by Matthew Quick ratified the acting charts of Bradley Cooper and allowed Jennifer Lawrence to take the golden statuette. With masterful performances by the supporting cast, tragicomic situations and a script brimming with black humor, the film brings together two chaotic and unfiltered beings. A bipolar determined to win back his wife meets a young widow who deals with her pain through unbridled sexual behavior. What should they do? Excelsior!
Enough Said (Dir. Nicole Holofcener, 2013)
The latest James Gandolfini film does not have the classic Hollywood gallants as protagonists, but it does have a couple with heartwarming chemistry. Explore a relationship that transcends physical attraction; its importance throbs in the laughter and philosophies of life shared when one is “halfway through life”, as Dante would say. Julia Louis-Dreyfus perfectly captures the insecurities of a vulnerable personality after a marital failure and whose conflict increases when he befriends his new partner’s ex-wife.
The Big Sick (Dir. Michael Showalter, 2017)
Written by Pakistani Kumail Nanjiani and his wife Emily V. Gordon from their own love story. It is a reminder that people should not be taken for granted, and it also confirms that the romances put to the test are discovered in all their dimension, no matter what culture you belong to. Once his ex-girlfriend falls seriously ill, Nanjiani’s character puts things in perspective and is confronted with his own feelings and family. This gives rise to a parade of sweetness, anxiety, black humor and great performances.
The entry The Best Romantic Comedies of the Past Decade was first published in Cinema PREMIERE.