Film

Sunday Lovers

Name: Sunday Lovers
Genre: Romance, Comedy, Drama
Released: 1980
Cast: Roger Moore, Lino Ventura, Ugo Tognazzi, Gene Wilder, Lynn Redgrave

Gross-out comedy
Dip in and out

A four-part comedy anthology set across England, France, Italy, and America, each segment exploring romantic misadventure through a different cultural lens. It's episodic and uneven—some sketches land, others don't—but the international cast and period charm carry you through. For viewers who enjoy sketch comedy or '70s sex farces, even when they're creaky.

If you liked this

Blame It on Rio1984

A similar '80s romp with Michael Caine caught between desire and disaster on a Brazilian beach. Light, silly, and unapologetic about its own ridiculousness—it knows exactly what it is.

But The premise relies on attitudes about women and consent that haven't aged well. It's also formulaic and not particularly clever.

The Party1968

Blake Edwards' masterpiece of escalating chaos at a Hollywood dinner. One location, minimal plot, maximum farce—a clinic in physical comedy that makes sketch-based storytelling look effortless.

But Peter Sellers' character is aggressively irritating by design. If you can't tolerate him, the whole film collapses.

Arthur1981

Dudley Moore as a wealthy drunk stumbling through romance and redemption. Rich with humor, charm, and genuine heart—proof that '80s comedies could be both frothy and feel-good.

But It's saccharine and predictable. The central conflict resolves almost by magic rather than genuine change.

Not sure tonight? Get a pick in a minute, starting from Sunday Lovers

The wildcard

Something you would not have found on your own.

Dinner for One1963

Both are international comedy anthologies rooted in sketch tradition. Where Sunday Lovers uses different countries as framing, Dinner for One uses one immaculate performance across multiple 'characters'—the inverse approach to the same idea.

A 18-minute German sketch—a woman and her butler perform an entire dinner party, with him playing all the absent guests. It's absurdist physical comedy of devastating precision, aired every New Year's in Germany and rarely seen elsewhere.

But Virtually no dialogue. If you can't laugh at pure mime and timing, you'll find it bewildering. Also: it's only 18 minutes, so it's not quite a full evening.

Ghostbusters1984

An ensemble comedy where the chemistry between leads (Murray, Aykroyd, Ramis, Hudson) carries everything. Funny, clever, and structured tightly enough that every scene earns its place.

But If you've seen it, you've seen it. There's no mystery left. And the dated special effects can distract from the writing.

Stripes1981

Bill Murray and Harold Ramis riff brilliantly in an army comedy that lets its actors improvise wildly within a loose plot. Pure charm and laughs from start to finish.

But The plot is genuinely thin—it's basically a sketch stretched to feature length. The second half sags once it tries to add actual stakes.

A Fish Called Wanda1988

Four con artists in an intricate heist-comedy with razor-sharp dialogue and genuine chemistry. British, American, and international sensibilities collide beautifully.

But It's more plotting-heavy than pure farce; some find it too clever for its own good. And the humor can feel icy rather than warm.

Santa Claus Is a Stinker1982

A French Christmas comedy that builds brilliantly from a single location. Chaotic, absurd, and deeply funny without relying on international cross-cutting.

But It's in French and distinctly French in sensibility. If subtitles or Gallic humor don't appeal, you'll feel left behind.

National Lampoon's Vacation1983

An American family comedy structured around a road trip, letting Chevy Chase flounder while supporting characters shine. Silly, heartfelt, endearingly dumb.

But The plot is almost nonexistent and the pacing drags. It relies on slapstick and cringe humor that doesn't always land.

La Cage aux Folles1978

Like Sunday Lovers, it's a European comedy anthology of romance and chaos told across national lines, but La Cage is cohesive and actually excellent—it shows what the format becomes with focus and wit.

A French farce about a gay couple's life and the chaos that erupts when one's son brings home his fiancée's conservative family. Exuberantly funny, warm, and genuinely moving about acceptance.

But It's a period piece with attitudes and humor that feel specifically 1978. Some may find the stereotypes uncomfortable. It's also loud and a little exhausting.