20 Funniest Movie Scenes Of All Time


People love to laugh. People love to watch film comedies and recite their favorite lines with their friends and laugh all over again. But here’s a surprising stat: despite our love of laughter, the highest grossing comedy of all time – we’re talking adult comedy, no animated children’s movies or hybrids like Men in Black or Deadpool – is Ted and it’s not in the top 10 highest grossing films of all time, not in the top 50, not even in the top 100. It’s 132nd.

Now that’s funny. But we’re going to celebrate the best of those funny flicks. Of course the other side of comedy is tragedy, and what’s tragic here are the movies we couldn’t fit in the top 20: Airplane,Caddyshack, Zoolander, The 40-Year-Old Virgin, just to name a few. But we think we’ve found 20 of the most hilariously distasteful, absurd, offensive, clever, and goofy scenes in the history of film.


Back in 2007, Superbad was a surprise hit and it featured a just as surprising scene-stealer, Christopher Mintze-Plasse in his very first screen role as Fogell. Produced by Judd “Everything He Touches Turns to Gold” Apatow and written by a team of childhood friends in Seth Rogen and Evan Goldberg (they wrote it as teenagers, though it was produced years later), the film revolves around two high-schoolers (Jonah Hill as Seth and Michael Cera as Evan) desperate to lose their virginity.

In this great scene, a phenomenon was born: McLovin. The boy’s geeky friend Fogell gets a fake ID, a teen movie staple. But Fogell’s goes horribly wrong in the eyes of Seth and Evan. He can choose any name on Earth for his fake ID and he chooses McLovin. Evan asks, “What, are you trying to be an Irish R&B singer?” Bizarrely for this scrawny white kid, he claims his second choice would’ve been Muhammed. And it was just McLovin, no first name. Again, Evan comes back at him with, “Who are you, Seal?” Hill, in his breakthrough role, loses his cool in hilarious fashion as Evan and Seth walk off, disgusted with their buddy’s ID fiasco.


Right off the top we’re going to address the elephant in the room (pun intended, but you’ll have to have seen the movie to get it): there’s definitely a political correctness factor to this scene, and the whole movie for that matter. The Party was released in 1968 and this might not have been a big deal to most moviegoers back then, but immortal comic actor Peter Sellers, a white English actor, portrays a brown-skinned Indian man named Hrundi V. Bakshi, complete with Indian accent and brown makeup. That certainly wouldn’t fly today, and we get that it can be viewed as insensitive, but the film is funny if you can get past that.

In this so ‘60s scene, Bakshi, a bit of an awkward loner at this Hollywood party, wanders the room and encounters a bird in a cage. “Would you like some food, Polly?” he asks it. He sees its food bowl, labeled “BIRDIE NUM NUM” and repeats the phrase over and over again while he feeds it. Every move Bakshi makes is inadvertently awkward, from throwing a bunch of food and making a mess to spilling the food and making a bigger mess to finding some weird intercom that inadvertently transmits all his weird sounds and chants of “Birdie num num” for all the party-goers ears to hear.



Hang on a minute, you might be saying… you’re claiming the end credits of a movie is one of the funniest movie scenes of all time? Yup. That’s what we’re doing. The Hangover, the breakout movie of 2009, is side-splittingly funny literally from top to bottom, featuring breakout performances from Bradley Cooper, Ed Helms and Zach Galifianakis, an insane cameo by Mike Tyson, a maniacally insane and naked Ken Jeong, and one unforgettable night in Las Vegas.

The whole plot of the movie centers around the guys trying to find their lost friend, retracing their steps from a crazy night, which they can’t remember because they blacked out. But the end credits piece it all together, as they find a camera that documented everything, in all its ridiculous and graphic glory. Notably insane moments: Helms’ character happily yanks out a tooth, the gang parties with Carrot Top, Galifianakis’ beer belly gets pierced, Helms punches Wayne Newton, and Cooper pretends to punch Tyson. It’s the perfect hilarious button on a great comedy.


In 1999, director Mike Judge emerged from Beavis and Butt-head‘s burnout animated humor and into the real world – the all-too real world of everyday office jobs – with Office Space. A world where passive-aggressive middle managers are weirdly obsessed with the cover sheets on TPS reports, and where the strange quiet guy isn’t noticed when he threatens to set the building on fire over a stapler.

And then there are the simple frustrations, like when that stupid printer jams and says weird, indecipherable things like “PC load letter.” This movie takes those frustrations one step further, to a place we’d all like to go in our secret desires. And that would be a place where you drag the printer out into a secluded area and beat it like a mob rat. That’s exactly what our heroes do, with hilarious results, as three office workers take turns kicking, stomping and beating the printer with a baseball bat, until one of them gets personal with it, gets in close and punches away at it, while his partners pull him away as though he’s gone too far in beating that mob rat’s head to a bloody pulp. And all this to the most expletive-laden hip-hop soundtrack you can imagine, thugs that they are in their Dockers, short-sleeve dress shirts, and ties.


No, we’re not talking about the Jesus, with the whole son of God, miracle worker, risen from the dead thing. This Jesus, from The Big Lebowski (1995), is an entirely different cat. The Cohen Brothers film is filled with unique characters, but with John Turturro’s Jesus Quintana character, they really hit the oddball pin (bowling pun intended) on the head.

When we’re first introduced to Jesus, he’s dressed in head to toe lavender, from the shoes to his jumpsuit, as he prepares to bowl a strike, unhindered by his plethora of huge rings and oddly long pinky fingernail. He suggestively licks his ball (yeah, he does), bowls his strike, and does a strange victory dance, all to the soundtrack of a Spanish version of “Hotel California.” Then it’s bizarrely revealed that Jesus is a convicted pedophile and we’re shown how he had to go door to door to “tell everyone he was a pederast.”


In 1997, Mike Myers banked on his Wayne’s World popularity to unleash a little passion project on the moviegoing public, one infused with his parents’ British sensibilities and spoofed spy movies like theJames Bond franchise: Austin Powers: International Man of Mystery. He wrote it and starred in it as the titular ‘60s spy who was frozen and awakened in the ‘90s, as well as his nemesis, Dr. Evil. Its combination of satire, potty humor, slapstick, and sight gags spawned two sequels and this brilliantly silly scene from the sequel, Austin Powers: The Spy Who Shagged Me.

The long and short of it (pun intended) is it’s a two-minute long phallic joke. Dr. Evil’s rocket launches out of his island lair, clearly looking like a long shaft with two spheres toward the bottom. When it shows up on government radar, the radar tech named Johnson (Clint Howard) points it out to his colonel and Johnson says, “It looks like a giant –” and the scene cuts to a pilot gasping, “Dick!” But he’s actually talking to his co-pilot, named Dick, who says, “Oh my God, it looks like a huge –” and cut to a new scene with a birdwatcher exclaiming, “Pecker!” And so on. You get it. It’s repetitive but ingeniously funny the way Myers has written each line to flow into the next synonym for the male member and each new scene flows into a description of the same rocket flying across the sky.


This is Spinal Tap is pure comedy gold. And part of the reason for that is because the 1984 rock and roll mockumentary was almost entirely ad-libbed by side-splitting actors Michael McKean, Christopher Guest, and Harry Shearer. Guest, of course, went on to direct and star in a string of mesmerizingly funny mockumentaries like Waiting for Guffman and Best in Show.

The classic Stonehenge scene combines some staged funny business during a concert, followed by some nutty improved dialogue backstage. On stage, the guys in fictional rock band Spinal Tap have set up a pretentiously overwrought “showstopper” surrounding their song, “Stonehenge.” Guitarist Nigel (Guest) wanted to have a gigantic recreation of Stonehenge’s stone triptychs dramatically revealed on stage. But it turned out Nigel’s diagram specified 18 inches rather than the intended 18 feet – he used a quotation mark signifying inches instead of an apostrophe signifying feet. Punctuation is important, people! So, onstage two little people wind up dancing around an underwhelmingly tiny triptych. Backstage, the band and their manager discuss the fiasco. McKean sarcastically claims, “The problem may have been that there was a Stonehenge monument on the stage that was in danger of being crushed by a dwarf.” When their manager says he’s making too big a deal of it, Shearer steals it off camera with the line, “Making a big deal of it would’ve been a good idea.”



First off, we’ll slap a little “viewer discretion advised” label on this one. If you don’t want to see wet, hairy, overweight, and fully nude men wrestling and chasing each other in public, do not watch this scene. But just know that you’ll be depriving yourself of one of the most shockingly hilarious scenes in the history of cinema.

If you’re unfamiliar with Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan (2006), it’s a mockumentary starring Sacha Baron Cohen as Borat, a television journalist from Kazakhstan exploring America. Many scenes were filmed guerilla-style, as Borat interacts with real people  who are unaware that he’s a character. In this scene, Borat, fresh out of a bath in his hotel room, stumbles upon his decidedly unathletic producer Azamat pleasuring himself, fully nude, to a picture of Borat’s beloved Pamela Anderson. Offended, Borat picks a fight and the rest is cringingly hilarious history as their fight spills out into the hallway, elevator and even a crowded conference hall, all the while Borat’s “member” is flatteringly blacked out by an exaggeratedly-long bar.


There’s not much that isn’t funny about the 2008 action comedy Tropic Thunder. It starred actors from whom we’ve come to expect a good laugh: Ben Stiller, Jack Black, Robert Downey Jr., Steve Coogan, and a bunch of other funny people. But then there was Tom Cruise. More often than not, Cruise stars in the kinds of action films this one satirized. Granted, he’d been successful in some unexpected roles to that point in films like Interview with the Vampire and Magnolia. But his take on studio executive Les Grossman, almost unrecognizable with male-pattern baldness, excess body hair, and a few extra pounds, was pure, intentionally over-the-top comic perfection, as illustrated in this clip.

Stiller’s character, Tugg, an actor making an action movie, has been kidnapped by a dastardly Vietnamese heroine-producing gang, Flaming Dragon. Not knowing this, his agent, played by Matthew McConaughey, has come to Grossman trivially trying to get his client a TiVo. Grossman pounds him with some scathing f-bombs. Cruise’s shocking profanity is only part of the joke. There’s also McConaughey’s profoundly cheesy ringtone (“Sometimes When We Touch,” by Dan Hill), the agent thinking he’s talking to Tugg only to be interrupted by Flaming Dragon, Grossman verbally berating the Dragons (“I will massacre you. I will f— you up!”), and then there’s Grossman’s offer to send the kidnappers a particularly disgusting bodily excretion from a hobo in lieu of a $100-million ransom.


The Jerk (1979) is peak Steve Martin, emerging from his explosively popular stand-up career, which sold out arenas, as both writer and star in this film directed by comedy legend Carl Reiner. It couldn’t go wrong, and it certainly did not. In fact, it was so hilariously right. Martin plays a dimwitted precursor to the Dumb and Dumber guys, Navin Johnson, who ultimately means well but isn’t quite in on his own joke.

After striking it rich by inventing glasses that aren’t prone to slipping off one’s nose, he just as quickly loses his fortune, and the love of his life, then embarks on a drunken rant about how he doesn’t need her, or any of his possessions. He picks up an ashtray and says, “Except this.” He doesn’t need anything except that. Well, he also wants a paddle game that’s lying on the floor, he says. And a remote control. And matches. And a lamp. He sadly stumbles through his mansion in his robe, pants around his ankles, repeating over and over that he needs just those things. Oh, but he needs a chair, too. And a magazine. That’s all he needs.


While last year’s sequel/reboot, Vacation, certainly had its moments, there’s no denying the original 1983 National Lampoon’s Vacation starring Chevy Chase at his peak is an all-time comedy classic. It’s one of those movies that’s hard to flick past when you see it on TV, since like many movies on this list it’s just teeming with laugh-out-loud scenes. And amidst all the madness, there’s still a real heart, a desire for family unity.

But enough of that sap, let’s get to the dog pee! In this scene we have the Griswold family, along with Aunt Edna (Imogene Coca) and her dog, taking a lunch break at a rest stop during their road trip. During their travels, Clark (Chase) has engaged in some light flirting with a Ferrari-driving blonde (Christie Brinkley). He spots her at the rest stop as she strangely puts on a flirty little dance for him while she drinks from a soda bottle. Clark can’t get enough, so he bizarrely flirts back. His dance is funny enough, but when he starts opening his sandwich and showing it to her, our guts really bust. How does he think that’s attractive? But he’s so confident. It all comes to a screeching halt when his wife, Ellen (Beverly D’Angelo) realizes that all the sandwiches are wet, moaning, “The dog wet on the picnic basket!” And the flirting ends as the blonde watches Clark spit his sandwich all over the place. Finally, to put a button on the proceedings, comedy legend Coca shrugs her shoulders and continues to eat her dog pee sandwich.


Sure, the Farrelly Brothers have been hit and miss over the years (and more miss than hit as of late), but they were at the top of their game with 1998’s There’s Something About Mary. The dialogue was funny, there was hilarious gross-out humor, and there was even a sincere love story at its heart. Granted, there were at least five men in love with the same woman, but still, it was Ted’s (Ben Stiller) undying love for Mary (Cameron Diaz) that took the movie to another level.

And the bedrock for that love was laid during the film’s early flashback scene, when geeky Ted arrives at Mary’s house to take her to the prom. Stiller is perfectly awkward as shaggy-haired, brace-faced young Ted. He has to relieve himself, so he heads to the bathroom for a pee, when he innocently spots Mary through the window, changing in her bedroom. Shocked, he cringingly zips his fly over a certain part of his anatomy, with a blood-curdling scream. Mary’s family, concerned, comes to the rescue. Mary’s stepfather comes in to take a look, and his reaction is too much. Then her mother comes along for a peek. She’s a dental hygienist, after all. And they’re having trouble discerning if it’s“the frank or the beans” that’s stuck. “How the hell’d you get the beans above the frank?” her stepfather shouts. Then along come the cops and a firefighter and all the while Stiller is a comically awkward victim as these people hilariously don’t know what to do with him. And the cherry on top: a paramedic shouts, “We got a bleeder!”


If you’re a comedy fan, we don’t have to tell you that Mel Brooks movies are a treasure trove of hilarity. You really can’t go wrong with a film the now 90-year-old living legend writer/director has created. Though Star Wars spoof Spaceballs was released in 1987, he’s only directed three movies since and we can fairly safely call it his last great effort – which is certainly not to say the last three didn’t have their moments.

Brooks was never afraid to go meta and break the fourth wall, but the “Spaceballs watchingSpaceballs” scene is the pinnacle. In it, Darth Vader wannabe Dark Helmet (Rick Moranis) is with his cronies searching their radar for the good guys, who are nowhere to be seen. His “Tarkin,” Colonel Sandurz (George Wyner), has the bright idea to bust out “the cassette of Spaceballs The Movie.” This was before DVDs/Blu-rays and streaming made it easier to skip through movies, despite the fact that they’re hurtling through space in a technological marvel, and they do debate how it’s possible to be on the set of the movie and watch it at the same time. After funny commands to “prepare to fast forward”through the FBI warning and Helmet not enjoying seeing himself fly head-first into a wall, they finally arrive at the very moment they’re in, watching themselves in real time.

Then it turns into a hilarious “who’s on first” type of wordplay when Helmet asks when this happens in the movie: “Everything that happens now is happening now.” “What happened to then?” “We passed it.” “When?” “Just now. We’re at now now.” And on it goes.


The first film to spin off from National Lampoon magazine, 1978’s Animal House, effectively launched the film careers of director John Landis, producer Ivan Reitman, and star John Belushi. It’s not only regarded as one of the funniest films of all time, reaching top spot on Bravo’s list of the top comedies, but also the first hugely successful gross-out comedy.

The “Bluto’s zit” scene beautifully (or should we say disgustingly?) illustrates that last bit. Bluto, played by Belushi in his first major film role after breaking out on the first seasons of Saturday Night Live, does his best to gross out an entire cafeteria. His tray already overloaded with food, he starts to squeeze sandwiches into his pockets, and when his pockets are full he takes a big bite out of one and throws the rest back. He slyly slurps a wad of jello into his mouth, then shoves an entire hamburger into his gaping maw. Then he waltzes over to a table where his friend sits with some preppy rivals and steals some of their food. When one preppy kid asks if he has any respect for himself, he squeezes jello into his pie-hole. And for his grand finale, when a preppy girl calls him a pig, he says, “See if you can guess what I am now.” He pops a cream puff into his mouth, puffs out his cheeks, then smashes both cheeks, spitting gross cream all over the preppies and says, “I’m a zit. Get it?”


Okay, we have to do it. We’re putting two Mel Brooks scenes on this list. He’s just too good as a comedic writer/director. And Young Frankenstein, from 1974, is pure gold, a true comedy classic. This black-and-white Frankenstein spoof stars Peter Boyle as the monster pieced together with cadaver parts by Gene Wilder’s Dr. Frederick Frankenstein, a man so tortured by his grandfather Victor (the scientist from the original Frankenstein story) that he purposely mispronounces his name,“Fronkensteen.”

In this abnormally funny (pun intended) scene, the monster has recently come to life and instantly tried to strangle his creator. Suspecting his hunch-backed, bulgy-eyed assistant Igor (Marty Feldman) has messed up, Wilder (who co-wrote the script with Brooks) is at his slow-burning best, and that’s what makes this scene so funny. His delivery during this interrogation is spot-on. He starts off acting kindly, but you can see in his crazy eyes and wild hair that he’s about to unhinge. We saw earlier that Igor had chosen a brain labelled “abnormal.” But Igor, a bit slow, remembers it differently. When the doctor asks him whose brain is in his monster, Igor responds, “Abby someone… Abby Normal.” Then we hear the manic anger slowly rise in Wilder’s voice as he says, “Are you saying that I put an abnormal brain into a seven-and-a-half-foot long, gorilla? Is that what you’re telling me?” And he proceeds to strangle Igor just as the monster had strangled him, followed by a brief reprise of the hilarious charade bit from the previous strangulation sequence.


Back in 2011, Bridesmaids was released to theaters and the world has never been the same. It proved to doubters that female-dominated comedies can work (it made $288.4 million on a $32.5 million budget), thrust lead actress and co-writer Kristin Wiig from Saturday Night Live star to movie star, made Melissa McCarthy a star, and won the Golden Globe for Best Motion Picture – Musical or Comedy. Plus, the new Ghostbusters probably wouldn’t exist without it.

The food poisoning scene is utterly disgusting and absolutely hilarious. The bridal party is checking out dresses in an upscale boutique after a meal when suddenly their skin looks clammy, bowels begin to rumble, and McCarthy’s Megan dry heaves with an added touch of flatulence. Suddenly, the other ladies experience the same symptoms. Then they move to the bathroom, much to the dismay of the saleswoman, and all hell breaks loose, literally, from their bowels. With the toilet taken, McCarthy sits on the sink, shouting “Look away!” Meanwhile, Wiig, trying to appear fine because she picked the restaurant, painfully claims she would like a snack because she’s so fine, despite the fact that she’s sweating and her skin is turning grey. Finally, the bride, played by Maya Rudolph, runs out of the store and squats in the middle of a busy street to take care of business.


The Zucker-Abrams-Zucker team that brought us the hilarity of the Airplane movies came back in 1988 to bring us The Naked Gun: From the Files of Police Squad, based on their short-lived 1982 TV series Police Squad! The first film was so funny that it was a hit with critics and viewers alike, so they went ahead and made the first of two sequels in 1988: the absurdly titled Naked Gun 2 ½: The Smell of Fear.

It’s a tough call, but it contains arguably the series’ most laugh-out-loud hysterical scene, when Frank Drebin (Leslie Nielsen) and Jane Spencer (Priscilla Presley) do the nasty. First, a little foreplay: a crazy spoof of the infamous sultry pottery scene from Ghost, only it’s significantly less sexy. If you can look past the 100-year age difference, the sexy is first interrupted by a mysterious third set of hands, then somehow their feet get in on the action. When they take their hands off the clay, it disgustingly splatters all over them – but part of what makes it funny is they don’t care, they’re too busy making out. Then, out of nowhere, 60-something Frank suddenly has Arnold Schwarzenegger’s torso. Jane intently reaches down into his jeans and pulls out… mushy clay? That’s just bizarre, and Frank’s satisfied gaze just seals the hilarity. And, finally, they seal the deal to a montage of ridiculous sexual metaphors, from blossoming flowers to trains entering tunnels to human cannonballs to a hot dog being placed in a bun.


It might come as a surprise that Anchorman: The Legend of Ron Burgundy didn’t even make $100 million during its theatrical release in 2004 (it made $90.6 million). After all, it’s become a highly quotable comedy and spawned a sequel, Anchorman 2: The Legend Continues, nine years later that made a whopping $173.6 million.

The sequel also reprised the original’s insane newscaster battle royale, and it was good in its own right, but there’s just no beating the unexpected cameos and pure hilarity of the original. In it, the male newscasters are down in the dumps and get lost while in search of a suit store. But along comes a rival news team out for a bike ride for no apparent reason, led by Vince Vaughan in a cameo, and the rivals taunt our heroes. Suddenly, they all pull out weapons they’ve inexplicably been hiding in their suits. Ron (Will Ferrell) asks, “Brick, where’d you get a hand grenade?” Dopey Brick (Steve Carell) responds, “I don’t know.” But along comes Luke Wilson’s well-armed team. Then Tim Robbins’. And Ben Stiller’s Spanish language news team. Ron declares that there’s one rule for this battle of pampered newsmen: “No touching of the hair or face.” Suddenly it’s a full-on Braveheart meets West Side Story fight scene, with horses, nets, guys being lit on fire, pitchfork impalings, and severed limbs. But when they hear sirens, they scramble. Cut to the office, when Ron puts the icing on the cake, hilariously stating the obvious, “Boy. That escalated quickly.”


How do you pick a single scene from a movie overflowing (pun intended) with gut-busting laugh-out-loud scenes? Go to the toilet, that’s how. Always a good rule of thumb: When in doubt, go to the toilet. Toilet humor, that is. And here, we’re not just talking about “toilet humor” in the conceptual sense, as in any kind of humor having to do with body parts or bodily fluids and waste. We’re talking about literal toilet humor.

When it comes to Harry (Jeff Daniels) and Lloyd (Jim Carrey), the “heroes” of Dumb and Dumber(1994), telling them to make themselves at home is about the worst thing you can do. They’re insane enough in a formal setting (see the blue and orange tuxedos). So, when Mary (Lauren Holly) tells Harry to make himself at home and his bowels start to rumble, he quickly makes her toilet his home – a home no living thing would ever want to go near ever again after he has his way with it. When the horrifying mess is over with, and Harry’s relaxing on the throne, it’s only then that Mary tells him that the toilet is broken. While she waits for him, his excuses are hilarious. “I was just shaving”; she hears him taking apart the toilet and he claims, “I’m just, I’m cleaning my teeth”; and, finally, when he’s pouring the toilet’s steaming contents out the window, he lies, “I’m gargling!”


Narrowing down just one Monty Python scene for this list is a difficult task. Much of their humor, admittedly, is an acquired taste, and this scene may be no exception. Monty Python’s The Meaning of Life had Mr. Creosote exploding, graphic sex-ed and “find the fish,” and Life of Brian was blasphemously gut-busting. But this rip (pun intended) roaringly raucous scene from Monty Python and the Holy Grail (1975) takes the cake for us.

King Arthur (Graham Chapman) is riding his fake horse through the forest when he stumbles upon the dreaded Black Knight (John Cleese) impaling his foe through the head. Impressed, His Royal Highness invites the victor to join him in his court at Camelot. Silence from B.K., who stands still and unimpressed. “You make me sad,” responds the rejected King of the Britons. But B.K. will not let him pass, so Arthur has no choice. It’s fightin’ time. They unsheathe their swords and Arthur avoids the intimidating and overconfident Black Knight’s slashes with comic ease. Before long a simple swipe rips (see pun, above) off the knight’s left arm, blood pouring out. And it’s in the Black Knight’s calm reactions as Arthur easily slashes off limb after limb, where the true hilarity of this scene lies. “Tis but a scratch.” “I’ve had worse.” “It’s just a flesh wound.” And, finally, when he’s just a torso with a head, and Arthur “rides” off in victory, the Black Knight shouts, “I’ll bite your legs off!


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