Every week at SiftPop.com, we challenge our writers to choose what they think is the best movie under a certain topic related to a recent release. So this week, with the release of Bodies Bodies Bodies, we’re counting down our favorite movies with repeating words in the title! Let us know @SiftPop what your ranking is!

In the ‘90s Jim Carrey was on the top of his game with comedies, and one of his best is Liar Liar, which I still quote and think about to this day. Fletcher Reede (Carrey) is a pathological liar and a lawyer going through a divorce. When he disappoints and misses his son Max’s (Justin Cooper) birthday, Max wishes that his dad can’t tell a lie for 24 hours. For a lawyer who has been given a case that could make him a partner, he must try and win his case without lying. This movie has always stuck with me, whether it’s the non-stop humor, or trying to figure out if Fletcher could do everything he does in this movie in 24 hours. There are several one-liners repeated that I will catch myself saying, and then I will burst into hysterics. The roast scene is still one of the best scenes in the movie 25 years later. Coming along with Carrey for this great comedy are Jennifer Tilly, Carey Elwes, Maura Tierney, and THE CLAW!!! This is definitely one you don’t want to miss — it will kick your butt with the nonstop humor and heart. (Austen Terry)

Talk about a movie that came out at the exact perfect time to have an impact on my life. Released in the summer of 2013, I had just graduated high school and college was looming on the horizon. Enter The Way Way Back, a coming-of-age dramedy that just changed my life. Now, the stories don’t necessarily line up, as Duncan (Liam James) is 14 and on a summer break in a place where he doesn’t really want to be. But when it comes to coming-of-age films, they need to capture a certain “vibe” of youth. A relatability and understanding with what the characters are experiencing. And Duncan is a perfect vessel for that. A pretty socially awkward and quiet kid who doesn’t know how to stick up for himself, he’s sort of bullied by his mom’s new boyfriend and his daughter. He feels small and angry, and just wants to escape. Lo and behold, on an expedition to just get away from everybody, he finds a water park, sneaks in, and begins to cultivate relationships that change the course of his life. It’s just a really beautiful story about finding your people, and the support those people can provide you in the toughest of times. Oh, and the cast is stacked. For a relatively indie film, it boasts an all-star lineup. Sam Rockwell, Toni Collette, Steve Carell, and Maya Rudolph in particular give really fantastic performances, Carell specifically playing against type in a way he has rarely done before. It’s just a really fun, feel-good movie that leaves you with a wonderful feeling of hope. (Nashua Doll)

Popstar: Never Stop Never Stopping is in my opinion the most underrated comedy movie of the last 10 years. I’ve rewatched it countless times and have never not laughed through the whole thing. It’s aware of how ridiculous it is while maintaining its tone throughout. With all of the several cameos, it can feel like a bunch of SNL skits put together, but it’s edited so well it doesn’t matter. The Lonely Island know exactly how satirical they are trying to be, and they totally nail it. In the midst of all the crazy things going on are several statements about the age of social media and how much we enable celebrity culture. The nice thing is that it gives you the option on whether or not you want to entertain them. All in all, this movie is a massive hit in my book, with a surprisingly good soundtrack as well. (Kaleb Wolters)

If you’re reading this, chances are you’ve known someone who has battled cancer, a terrible disease that can ruthlessly ravage the body in so many awful ways. That makes Jonathan Levine’s 2011 film, 50/50, something of a magic trick in that it can take the story of a malignant spinal tumor diagnosis and make it hilarious, while also beautifully heartfelt. Joseph Gordon-Levitt plays Adam, a 27-year-old experiencing back pain, prompting a seemingly innocuous check-up with his doctor. His back pain, as it turns out, stems from a form of cancer that renders him only a 50/50 chance of survival. What this movie does so well during its journey from diagnosis, to dread, to rebellion, and ultimately recovery, is handling abrupt shifts from uproarious laughter to invested emotional compassion. Adam’s reactions to his cancer, his thoughts and feelings, his outbursts, and his self-reflection all feel incredibly raw and real, devastatingly earned. The humor can be quite gallows, especially shared between Adam and his best friend, Kyle (Seth Rogen), and there’s a love story component to the proceedings as well, with Adam falling for his inexperienced therapist, Katherine (Anna Kendrick). All the while, there’s an underlying weight of responsibility that 50/50 shoulders, forcing its main character and those closest to him to face the reality of both his life and his potential death. Cancer isn’t a theme typically mined for comedy, and while it might be clichéd to insist, laughter, finding the humor in any situation, really can be the best medicine. (Jonathan Fedee)

I try to stay away from getting political in the BEC, but sometimes a movie addresses a subject that is either inherently political, or cannot be kept away from politics. For as long as I can remember, there’s been the prevailing thought that the news has to be apolitical — it should be just the facts. Where Good Night, and Good Luck. finds itself is in that crossroads where reporting on the facts as they are is itself politicized as it pertains to the McCarthy hearings surrounding the fear of communism within American culture. David Strathairn plays Edward R. Murrow, the CBS broadcaster who famously criticized Joseph McCarthy’s methods to his audience. Is it a political statement simply to criticize a politician? The movie is bookended by excerpts from Murrow’s speech at the Radio and Television News Directors Association, in which he lambasted television news’ turn towards entertainment rather than education — a sentiment that over 60 years later has certainly not diminished. Good Night, and Good Luck., then, is in many ways a statement as much as it is a peek into history, and with its all-star cast and direction from George Clooney, it is worth a watch simply to see talented actors portray the wrestling match between speaking truth to power and simply reporting the news. (Chris Bakker)

The title tick, tick.. BOOM! is an apt onomatopoeia illustrating the theme, with Andrew Garfield perfectly capturing the frenetic energy of Jonathan Larson fighting futilely against the ever-accelerating hand of Father Time. Larson’s stage musical by the same name captured the familiar feeling of questioning your direction as you approach your 30th birthday and wishing time would slow. The film made great use of this material by intercutting recreations of performances from the musical with scenes illustrating the events that inspired them, sometimes even mid-song. “Therapy” does this best. The music, lyrics and marionette-style comedic choreography are brilliant, and the fight between Jonathan and girlfriend Susan Wilson (Alexandra Shipp) is powerful and familiar. Together, the stark juxtaposition takes it to another level. “Therapy” and “30/90” are both songs I have played daily for months since first seeing the movie, and still during my second watch, both performances gave me chills. A funny, sincere, and bittersweet story is backed by consistently catchy and deep songs rivaling those from any other musical. Lin Manuel Miranda did not receive the credit he deserved for inventive shots like the wall of the diner coming down to create a stage as Jonathan strives to escape the grind and make his living in the theater. The backdrop of the AIDS epidemic leads to deeply emotional moments, and these are just a small sampling of where Robin de Jesús shines in a supporting role. This is in the conversation for best all-time movie musicals. (Jason Mack)

Going into La La Land, we already knew the kind of chemistry Emma Stone and Ryan Gosling had on screen, thanks to Crazy, Stupid, Love. Still, what Damien Chazelle created was pure magic. Mia and Sebastian’s love story is filled with highs and lows, and Chazelle’s got you invested at every twist and turn. Obviously, any discussion of the briefest Best Picture winner of all time would be sorely lacking without mentioning the music. Chazelle’s musical bona fides were obviously cemented with Whiplash, but it doesn’t make his accomplishment here any less impressive. In an era where seemingly every musical is a Disney animated feature, La La Land’s soundtrack is nothing short of iconic. “Mia & Sebastian’s Theme” is on my shortlist of my favorite instrumentals ever. Add in other songs, like “A Lovely Night” and how Los Angeles truly feels like a character throughout, and you’ve got one of the more captivating cinematic experiences of recent years. (Jake Bourgeois)

As a child of divorce, Kramer vs. Kramer HITS HARD. Dustin Hoffman and Meryl Streep play Ted and Joanna Kramer. When Joanna leaves Ted, he must summon all he can to be a better and more attentive father to his son Billy (Justin Henry). Deeply emotional, and with performances of the ages, Kramer vs. Kramer won a slew of different Oscars, including Best Picture. Hoffman and Streep both won Oscars for their performances — it was two people at the height of their craft working together. The tension and anger between the two are palpable, and they showcase the lengths that someone will go to in order to be a good father. (Mike Hilty)

Note to self: I didn’t learn from watching Amadeus that I need to do a better job of looking at runtime before watching a movie late at night. Clocking in at 173 minutes, Yi Yi is an amazing showcase of three generations of the Jian family. This is an epic as it can get from a story standpoint, and although not a lot of action is happening, there are a lot of emotional moments and a compelling story to be seen. We follow father N.J. (Nien–Jen Wu) as he struggles with his job, in addition to a past relationship. His wife Min-Min (Elaine Jin), whose mother is in a coma due to a fall, struggles with the grief of her inevitable death. Their daughter Ting-Ting (Kelly Lee) struggles with young love and feeling accepted and valued, and their son Yang-Yang (Jonathan Chang) deals with a local bully. All these people are focused on taking care of Min-Min’s mom, as the doctors have encouraged them to talk to her while she’s in a coma to help improve her neurological state. Yi Yi is a sprawling and grand story about a family struggling to get through their daily lives — it’s a beautiful story about their relationship together and the relationships they each have individually. Edward Yang directed a masterpiece, and it was well worth the staying up until 2:30am AND the free trial of The Criterion Channel. This is a MUST WATCH for any cinema lover. (Mike Hilty)

Dark, uncomfortable, and Boston “AF”. That is Gone Baby Gone in a nutshell. This directorial debut by Ben Affleck is an incredibly powerful piece that can act as a great conversation starter. Because it’s all about that ending, and boy, will your moral code, compass, or whatever you want to call it, get tested. You can discuss it for hours upon hours with people, disagree with their position, but still understand where they are coming from. This film is as real as it gets; it’s full of characters making tough choices, and what’s worse than that is when they see the aftermath of those choices. I think we can all sympathize with that, making a choice just to wonder a few days or weeks later whether it was the “correct” thing to do. But in Gone Baby Gone, the choice is more high stakes than ever. This film shows you the difference between right, lawfully right, and morally right. Everything that happens before is a compelling investigation story full of great performers, but that ending… I would have never guessed Ben Affleck would be such a gifted director, yet here we are. Gone Baby Gone is a dark film, but it’s also one of the best films of the last 15 years. If somehow you haven’t seen it yet and don’t know anything about this film, go into blind, as soon as you can, and thank me later. (Luke Burian)

It’s a Mad, Mad, Mad, Mad World

What is the only thing larger than the amount of “Mad” in the title of this classic comedy? The ridiculous number of legendary actors, that’s what! It’s a Mad, Mad, Mad, Mad World sets the gold standard for ensemble comedies. When a dying man tells the location of a cache of loot, a group of people try to beat each other to the chase. Without this classic, there would be no films like Rat Race or Cannonball Run. The physical comedy is off the charts and this immense ensemble is fully committed to the gag. You have the likes of Spencer Tracy, Milton Berle, Mickey Rooney, Ethel Merman, Sid Caesar, Buddy Hackett, Dick Shawn, Jonathan Winters, Peter Falk, Buster, Keaton, Don Knotts, the Three Stooges, and so many more. I probably could have just listed all the starts in the film and that would have been enough to get you to check out this film. Once you give this comedy a chance, I can guarantee you will go mad, mad, mad, mad for it. (Shane Conto)

Cha Cha Real Smooth

2022 has already been an impressive year in film, largely due to the numerous surprise hits. One of the most surprising hits so far has been Cooper Raiff’s sophomore film, Cha Cha Real Smooth. Raiff wrote, directed, and starred in the film as Andrew, a Bar Mitzvah party host who falls for a woman that is at a completely different stage in her life. It is a spectacular modern romantic comedy that succeeds because of its unique charm and subversive conclusions. Dakota Johnson does a great job as Andrew’s love interest, Domino. However, I really felt like Vanessa Burghardt stole the show as Domino’s autistic daughter, Lola. Burghardt is absolutely hysterical, and the bond she has with Andrew is unbelievably heartwarming. And for only being his second feature-length film, Raiff clearly has a lot to say. The film is an insightful exploration of romance, parenthood, and attachment. It connected with me in a powerful way, and I’ll admit I had a tear in my eye as the credits rolled. (Jack Grimme)

Kiss Kiss Bang Bang

Kiss Kiss Bang Bang, the 2005 crime mystery from Shane Black, pairs Robert Downy Jr. with Val Kilmer. A thief (Iron Man) is mistaken for an actor that teams him up with a private detective (Batman) if he wants to land the potential role. This is the movie I consider to be what started RDJ on his comeback which helped him stay clean after his trouble with drug addiction made him hard to hire. Kiss Kiss Bang Bang is a strong recommendation for people to go in blind. I need you to watch this movie so I have more people to talk to it about. Please. (Frank Kemp)

Chitty Chitty Bang Bang 

Oh, you, pretty Chitty Bang Bang. Chitty Chitty Bang Bang, we love you. And honestly, how could we not? Chitty Chitty Bang Bang is one of the most wholesome and fun family musicals you could ever hope to find. Whether you’re enjoying the charisma and whimsy of the legendary Dick Van Dyke, the serene vocals of Sally Ann Howes, or the hilariously evil Gert Frobe, there’s so much to love and appreciate. The film blends solid themes about family, ingenuity, and respect, while delivering a large scale fantasy story. It’s pure magic. So much so, in fact, that you can see how it influences other artists with even a direct reference in the recent Best Picture nominated film Belfast where Buddy and his family catch this film in theaters. The black-and-white movie literally fills up with color at the sight of this movie and its magical flying car. From unique and well-crafted art direction to a beautiful score, and from energetic performances to lovely costume design, there are very few aspects of this film that don’t sing. Heck, you’ll be singing along too as you enjoy classic songs such as “Toot Sweets”, “ Truly Scrumptious”, and the titular “Chitty Chitty Bang Bang”. This film stands the test of time and remains one of the most truly entertaining family films ever made. I couldn’t recommend this enough. Now, leave me be while I continue singing!  (Heath Lynch)

Win Win

I feel like all I really need to say about Win Win is: Paul Giamatti. If there is one actor whose filmography you should complete, it is Mr. Giamatti’s. Giamatti plays Mike, a man who lies to the court in order to get money for helping his elder client. Instead of actually helping his client, he sticks him in a home and collects the money anyway. The plot thickens as his client’s grandson comes to live with his grandfather, but hoping to keep up the ruse, Mike takes in his client’s grandson instead. Mike is an obviously flawed man who has made some bad decisions, but is able to get the audience on his side because of the charisma that Giamatti brings to the character. His relationship with the troubled teen that he brings in is relatable because you can feel that Giamatti wants what is best for everyone, even if he digs himself into some avoidable holes. This is the type of movie that Giamatti thrives in. He is charming even despite his flaws. You should watch this movie because telling you to “win” twice can’t steer you wrong. (Scott Batchelor)

Yes, God, Yes

Look, I’ll just cut straight to the point. I really enjoy this movie’s takedown of the superficial and judgmental nature of purity culture. Most movies centered around a church camp would have something to do with facing trauma or realizing you are a sinner needing redemption. But when that is being taught to you by two-faced people, it becomes a lot harder to believe. Yes, God, Yes fully captures the atmosphere in that world, from the side hugs to the judgy parents. I have been to these camps and what a nostalgic feeling this movie captures. Natalia Dyer hits a home run with this performance and is the clear MVP here. Her quiet curiosity and rebelliousness in the face of early 2000s authoritarianism deserves applause. Now if only these darn Duffer brothers would write her a role half as good as this for Stranger Things when they aren’t too busy killing off characters the audiences likes. #JusticeForBarb (Sam Nichols)

New York, New York,

Legendary writer and director Martin Scorsese has many commonalities in a majority of his films, the major one being his love for New York. New York, New York spells that out literally. This musical drama stars Liza Minnelli and soon-to-be longtime collaborator, Robert De Niro. At the time this would be an unusual film choice for Scorsese due to the musical aspects, but later in his career, he would take on more musically inspired projects. The story is about two musicians with grand aspirations falling fast in love, but also falling just as fast out of it. Ego and dreams of career expansion bring tension to the accelerated relationship between Francine (Minnelli) and Jimmy (De Niro).When dreams of two individuals become so vast, it can build a rift despite the love shared between them. Especially when one is selfishly devoted to their dream at all costs. New York, New York is an interesting part of Scorsese’ filmography, and it’s worth viewing on that aspect alone. (Joe Vargas)

Run, Fatboy, Run

What is a way to get your ex and mother of your child back after jilting them at the altar years prior? Run a charity marathon! Run, Fatboy, Run is the story of Dennis (Simon Pegg), a single dad, down on his luck, and out of shape, ends up biting off more than he can chew after meeting his ex, Libby’s (Thandiwe Newton) athletic, new beau, Whit (Hank Azaria). With his hopeful trainer and landlord Goshdashtidar (Harish Patel) and his well-meaning gambling, slacker best friend, Gordon (Dylan Moran), Dennis starts his “grueling” three-week training and hilarity ensues, including gambling on the marathon and a trip down the stairs after intense biking. And make sure to look away if you’re squeamish about blisters and a sanitized nail. Run, Fatboy, Run is such a charming comedy about having second chances, being a better person for the ones who matter, and that the fit and charming guy isn’t always the one. Don’t count the underdog out. (Chantal Ashford)