Show: Best In

It’s a film that asks a simple, hilarious question: Is there any human endeavor too dignified for a little gentle mockery? The answer, as Best in Show proves, is a resounding “no.” Whether you’re a dog lover or just a lover of perfectly crafted comedy, this is the best in show.

In the pantheon of mockumentaries, Christopher Guest’s Best in Show sits not just at the table, but squarely on the top podium, tongue firmly in cheek and leash perfectly coiled. Released in 2000, this isn’t just a movie about dog shows; it’s a surgically precise, absurdly affectionate evisceration of obsessive hobbyism, class anxiety, and the strange, fervent love people project onto their pets. Best in Show

The film follows five very different dogs (and their very distinctive owners) as they travel to Philadelphia for the prestigious Mayflower Kennel Club Dog Show. The genius of Guest and his repertory company (Eugene Levy, Catherine O’Hara, Parker Posey, Michael Hitchcock, John Michael Higgins, Jane Lynch, and Fred Willard) is that they never play for cheap laughs. They commit to their characters with the same dead-serious intensity that a real handler reserves for stacking a terrier’s legs. It’s a film that asks a simple, hilarious

Consider the tension between Gerry and Cookie Fleck (Levy and O’Hara), a sweet, bumbling couple whose marriage is held together by their Norwich Terrier, Winky—and whose suitcase is overflowing with Cookie’s numerous past romantic encounters (“We met at a bus station. Then later, at her wedding”). Or the neurotic, yuppie nightmare of Parker Posey and Michael Hitchcock as Meg and Hamilton Swan, who treat their Weimaraner like a therapy patient and have memorized two entirely different versions of how they met at a Starbucks. And then there’s Fred Willard’s buck-toothed, clueless broadcast commentator, Buck Laughlin, who delivers lines like “That’s a tasty dog” and single-handedly redefines the art of the non-sequitur. Released in 2000, this isn’t just a movie

What makes Best in Show a lasting classic, rather than just a funny sketch, is its warmth. Despite the delusional behavior—the ventriloquist’s dummy, the two left feet, the obsessive color-coordination of leashes—these people genuinely love their dogs. The film laughs with their absurdity, not at their passion. The climactic judging sequence, culminating in a truly unexpected winner, is a masterclass in sustained comedic tension, complete with a surprise cameo that will have you cheering.