Funniest Movie Scenes: Although it would be impossible to compile a list of every single funny scene ever screened, this collection moves toward that goal. It should be obvious that a selection of funny movie moments and scenes is entirely subjective and can only scratch the surface.

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A Night at the Opera (1935), a musical comedy, is the sixth of thirteen Marx Brothers feature films. A Night at the Opera is universally considered to be the Marx Brothers' best and most popular film, and it received critical acclaim when released. By bringing their comedy sequences, musical numbers, and plot line (a love story) up to higher standards, the film also proved to be a tremendous financial success. In homage to this film, the mid-70s raunchy, mock opera rock band Queen, with lead singer Freddie Mercury, named its fourth album after this film. [They also named their next album after another Marx Bros. film, A Day at the Races.]

The less anarchic, solidly-believable plot and slapstick comedy of this Marx Brothers film (the first one without straight-man Zeppo) was derived from a well-developed screenplay written specifically for them by two of their best writers ever, playwrights George S. Kaufman and Morrie Ryskind (who had previously worked with them on The Cocoanuts (1929) and Animal Crackers (1930)).

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The action/adventure film first became popular with weekly Saturday serials, running in installments that often had 'cliff-hanging' endings to entice viewers to return for the next show. Heroine Pearl White in the 20-episode The Perils of Pauline (1914) was the first major super-star of the silent serials. Besides Pearl White, there were other queens of the sound serials, including Kay Aldridge (as jungle Queen Nyoka in Nyoka and the Tigermen (1942)) and Linda Stirling (in the 12 part serial Zorro's Black Whip (1944) and as the "Tiger Woman" in another 12-episode serial, Perils of the Darkest Jungle (1944)).

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Creative director Rouben Mamoulian stylishly remade the Fairbanks' 1920 Zorro tale almost two decades later as the historical swashbuckler The Mark of Zorro (1940) with Tyrone Power as the dashing, masked and foppish hero Don Diego Vega in old California, who duels with a villainous oppressor (Basil Rathbone) to the death in the film's climax. The 1940 version also featured glowing and gorgeous Linda Darnell and Gale Sondergaard as the good and bad female characters respectively.

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Cast:

Bill Murray, Andie MacDowell, Chris Elliot

Review:
The date is February 2 and the place is Punxsutawney, Pennsylvania. Pittsburgh weatherman Phil Connors (Bill Murray), on hand to cover the Groundhog Day ceremony, is having one of the most unpleasant experiences of his life. It's one of those days when Murphy's Law seems to be in full effect. But Phil soon discovers that things are worse than they first seemed, because for him, and him alone, time has stopped. Now, he's trapped in a bizarre time loop that forces him to re-live Groundhog Day over and over, with no hope of reprieve or release, and no way of explaining the situation to anyone else since he's the only one who realizes what's happening.

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Cast
Gretchen Mol as Catherine Caswell
James Rebhorn as Lucian Carver
Cameron Bright as Adam Stafford
Perrey Reeves as Adrienne Stafford
Mark Pellegrino as Graham Caswell
Noah Wyle as Mike Stafford
Fearless Swift as Miley Walker
Laurel Astri as Faith


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Director D.W. Griffith's expensive, most ambitious silent film masterpiece Intolerance (1916) is one of the milestones and landmarks in cinematic history. Many reviewers and film historians consider it the greatest film of the silent era. The mammoth film was also subtitled: "A Sun-Play of the Ages" and "Love's Struggle Throughout the Ages." Griffith was inspired to make this film after watching the revolutionary Italian silent film epic Cabiria (1914) by director Giovanni Pastrone.

After the widespread controversy surrounding his racist masterpiece The Birth of a Nation (1915), Griffith attempted to defensively answer his critics with this work. He took a smaller feature film that he was working on about the contemporary, Progressive Era struggle between capital and labor [titled "The Mother and the Law"] and the theme of social injustice and combined it with three new stories to create a more spectacular, monumental, dramatic epic. All of the stories, spanning several hundreds of years and cultures, are held together by themes of intolerance, man's inhumanity to man, hypocrisy, bigotry, religious hatred, persecution, discrimination and injustice achieved in all eras by entrenched political, social and religious systems.

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Starring Mel Gibson
Jodie Foster
Anton Yelchin

Review:

Depression is a difficult condition to explore in modern American cinema because no one wants to be around depressed people. We can see characters be sad, but only if they were happy before and will rally and be happy again by the time the movie ends. But an honest look at someone suffering from depression is rare and on that count The Beaver deserves acclaim. Unfortunately, despite the confidence of Kyle Killen’s script, director Jodie Foster never manages to bring a thoughtful vision the film. Even worse, no chemistry is developed between the characters, which is a serious issue when you’re making an intimate family drama. Individually, the actors do a terrific job, but the story never finds the emotional core that ties them together.

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After a series of directors from Ron Howard to Steven Spielberg and most recently Gore Verbinski came and went from the remake of the 1947 comedy The Secret Life of Walter Mitty, star Ben Stiller began talks with Fox to take on directing duties.

Variety reported that Stiller was the likely replacement to direct The Secret Life of Walter Mitty in addition to playing the lead.

Steve Conrad, writer of Wrestling Ernest Hemingway and The Pursuit of Happyness, continued to work on the script.

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Arnold Schwarzenegger remained committed to jump-starting his acting career post-governor's office and his infidelity scandal and divorce with wife Maria Shriver via his commitment to the Lionsgate western The Last Stand. Schwarzenegger agreed to play what a Lionsgate exec described as a border town sheriff facing a drug cartel leader trying to escape across the Mexican border.

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