Funny Pages is a 2022 American coming-of-age black comedy film written, directed, and edited by Owen Kline and produced by the Safdie brothers.

[1] It stars Daniel Zolghadri, Matthew Maher, Miles Emanuel, Maria Dizzia, Josh Pais, Stephen Adly Guirgis, Louise Lasser, and Andy Milonakis.

It premiered at the 2022 Cannes Film Festival and was released in the United States on August 26, 2022, where it received positive reviews from critics.

Seeking independence, Robert leaves his parents' house and moves to Trenton, New Jersey, where he shares a dingy apartment with two older men, Barry and Steven.

In an unsuccessful attempt to gather incriminating evidence, Robert throws a rubber horse at the pharmacist and flees the scene.

Later that night, Robert moves back home after walking in on Barry and Steven masturbating to Katano's adult comics at their apartment.

The website's consensus reads: "It won't be for all tastes, but Funny Pages deserves credit for telling a coming-of-age story that leans heavier on cringe comedy than nostalgia.

"[4] Metacritic, which uses a weighted average, assigned the film a score of 73 out of 100, based on 32 critics, indicating "generally favorable" reviews.

The New York Times critic points out that "'Funny Pages' was shot in super 16 millimeter film, which gives the movie a gritty texture that fits the material and, at times, evokes some classics of 1970s cinema" while being "exhilaratingly free of the do-gooder, aspirational current that runs through so many ostensibly independent features (unless you too aspire to Crumb-like artistry), and that effectively repackage the same Sunday school moralism the old-studio movies did."

Dargis ultimately draws contrast in saying "there are fights, a car crash, some domestic drama, but mostly there is Robert in his own wonderland, a dank, clammy, sometimes sordid place of delight, baseness and naked feeling, one that’s far from the one inhabited by, say, the status-conscious music dudes in the film “High Fidelity.”[6] K. Austin Collins of Rolling Stone called it "an itchy, smart, unpredictable portrait of a young artist [that] practically makes you see Robert with double vision."

That "it goes out of its way to see its characters in the most unvarnished, unfiltered light, closing in on bad skin and awkward haircuts and embarrassing masturbation rituals and squinty eyes that look extremely wet for no particular reason" but that "it’s also hard to avoid sharing in that obsession.