For whatever reason, Hollywood doesn’t produce movies like “Legally Blonde” anymore. Brightly colored, fun, and undeniably optimistic, this Reese Witherspoon comedy succinctly captures the zeitgeist of the early 2000s, and it now serves as a time capsule to a more innocent time when it felt possible for a fashion merchandising student to usurp the Harvard snobs and become a full-fledged lawyer. Truly, director Robert Luketic’s upbeat tone, to say nothing of Karen McCullah Lutz and Kirsten Smith’s snappy script, is a key reason for the film’s enduring success — it’s the perfect underdog tale, featuring a likable character worth rooting for and an uplifting message about staying true to yourself and persevering in the face of adversity.

“Legally Blonde” earned solid reviews from critics, earned a pair of Golden Globe nominations, including one for Witherspoon, made a killing at the box office, led to two sequels (and counting), and even spawned a musical. Like Elle Woods, the film’s plucky main character, “Legally Blonde,” proved the detractors wrong and soared to astonishing heights.

After watching the film, you may want more like it. We’ve, like, got you covered with 10 best movies to watch if you like “Legally Blonde.”

Blasted by critics upon its release, 2003’s “Uptown Girls” nevertheless remains a worthwhile watch, if only to see Brittany Murphy, perhaps at the peak of her stardom following roles in “8 Mile” and the box office hit “Just Married,” go toe-to-toe with young Dakota Fanning.

Molly Gunn (Murphy) is a free-spirited socialite living off the trust fund left behind by her late rock star dad. When an accountant steals her fortune, Molly is forced to work for the first time, leading her to nanny Ray (Fanning), a wise-beyond-her-years eight-year-old hypochondriac. After a few follies, Molly rises to the occasion, gains more responsibility, and forms an unlikely bond with Ray, who subsequently learns how to be a kid.

“Uptown Girls” follows the tried-and-true rags-to-riches formula pretty closely, but it adds a few wrinkles along the way, such as Molly’s surprisingly complex relationship with a young singer named Neal (Jesse Spencer). Like “Legally Blonde,” the enjoyment lies in watching these underdog characters overcome personal obstacles to attain their own fairy tale ending.  

On the surface, “Mean Girls” looks like another typical teen comedy. Thanks to a wickedly sharp script by Tina Fey and strong direction from Mark Waters, this 2004 comedy is anything but. Instead, it gifts viewers an intelligent, thoughtful, often hilarious look at the life of a teenage girl, and led to a sequel, a Broadway musical, and a totally fetch big screen adaptation of that musical.

When homeschooler Cady Heron (Lindsay Lohan) finally steps into an actual high school, she quickly finds herself gasping for air, suffocated by the cruelties of the student body, namely the “Plastics,” led by the insufferable Regina George (Rachel McAdams). Working with a group of outcasts, Cady learns the ways of her newfound world and ends up climbing the social ladder until she, too, morphs into the very thing she once fought against.

“Mean Girls” lacks the quirky appeal of “Legally Blonde,” relying instead on acidic humor and social commentary to achieve its goals. Still, like perky Elle Woods, Cady navigates through a thick forest of challenges and emerges as a better person with a greater understanding of the world around her. 

Mike Nichols’ star-studded 1988 romantic comedy “Working Girl” sees Melanie Griffith’s Tess McGill, tossed aside by her employer (Sigourney Weaver) and boyfriend (Alec Baldwin), ascend the corporate ladder through a series of fortunate events — including impersonating her boss (Sigourney Weaver). During her majestic climb, she befriends and eventually falls for Jack Trainer (Harrison Ford), a mergers and acquisitions associate from another business, and formulates a possible merger with his company. How long will the ruse last?

Nominated for six Academy Awards, including Best Picture, Best Director for Nichols (who only got the gig after a Wall Street scandal caused the previous director to drop out), and Best Actress for Griffith, “Working Girl” covers a lot of thematic ground, including gender inequality and class barriers, while delivering a witty tale about ambition and resiliency in a dog-eat-dog world. Griffith, in particular, shines as the ultimate underdog whose genius is hidden beneath layers of social stereotypes. Her transformation mirrors Elle’s, and it’s easy to see how “Working Girl” inspired “Legally Blonde” over a decade later. It’s also fun to see Ford and Weaver, two primarily dramatic actors, use their comedic chops in playful supporting roles. 

A spiritual sequel to “Legally Blonde,” right down to its pink, bubbly aesthetic, 2008’s “The House Bunny” stars Anna Faris as Shelley Darlingson, a disgraced Playboy Bunny who must learn to survive independently after being ejected from the Playboy Mansion. Alone and broke, she stumbles upon a low-ranking sorority house at a nearby college featuring socially awkward outcasts. Shelley promptly tries to fit in and even begins studying to woo a local retirement home manager (Colin Hanks), but she quickly learns that her plucky facade hides a more lovable interior.

“The House Bunny” didn’t achieve the same critical or commercial success as “Legally Blonde,” but it still works as a colorful, campy comedy about self-acceptance. Faris’ performance solidified her legacy as a comedy great, and the actress brings the same manic zeal she displayed in the “Scary Movie” franchise. Add in a terrific supporting cast, namely Hanks, Emma Stone, Kat Dennings, Christopher McDonald, Beverly D’Angelo, and the late Hugh Hefner, and you have the perfect date night flick that’s easily one of the best movies like “Legally Blonde.”

Sandra Bullock shines in “Miss Congeniality,” a silly caper that blends elements of “My Fair Lady” and “Cinderella” with fun results. After learning about a terrorist’s intentions to blow up the Miss United States beauty pageant, the FBI sends Gracie Hart (Bullock) undercover to save the day. However, Gracie lacks the, um, decorum required to participate in the event. Thus, a pageant coach (Michael Caine) is brought in to teach her basic etiquette and how to act like a lady — just enough to possibly catch the eye of her hunky co-worker (Benjamin Bratt, in a role originally considered for Hugh Jackman).

This 2000 comedy is the ultimate star vehicle, leaning more into the fish-out-of-water trope than a rags-to-riches narrative. However, it still follows the same familiar formula that would make “Legally Blonde” a runaway hit a year later — namely, a woman defying preconceived notions about her capabilities and rising above societal challenges. Each picture celebrates femininity while highlighting the importance of confidence, kindness, and authenticity, all wrapped in an irresistibly entertaining package.

“Clueless” remains the quintessential high school rom-com, inspiring countless imitators, including the equally iconic “Legally Blonde.” Loosely based on Jane Austen’s “Emma,” this Amy Heckerling production stars Alicia Silverstone as Cher, a ditzy valley girl dealing with high school, romance, adulthood, family, and friendship in Beverly Hills. To distract herself from her problems and insecurities, Cher tries her hand at matchmaking, first with a pair of teachers and later with a transfer student named Tai (Brittany Murphy). At first, Cher’s actions appear harmless, but things quickly spiral out of control, particularly after Tai ascends to popular girl status, leaving Cher feeling even more lost than before. Ultimately, Cher must learn to toss aside the superficiality of her life and embrace a renewed sense of direction.

Co-starring Paul Rudd, Stacey Dash, Dan Hedaya, and Breckin Meyer, this charming comedy scored big at the box office, launched several careers, including Silverstone’s, and left a massive footprint in pop culture. 

Erin Brockovich (Julia Roberts, in her best film) is a bold and outspoken single mother who can’t seem to catch a break. After her lawyer, Ed Masry (Albert Finney), fails to assist her in a car accident case, she wrangles her way into a job at his law firm. There, she stumbles upon a case involving the residents of Hinkley, California, who suffered greatly due to groundwater contamination caused by Pacific Gas and Electric Company (PG&E). Rising to the occasion, Erin takes the case, gives the residents of Hinkley a voice and forces PG&E to pay for their crime. 

Directed by Steven Soderbergh, “Erin Brockovich” takes a grounded approach to its powerful true story but occasionally finds humor in unlikely places, notably in the relationship between Erin and her uptight boss. Erin leaps over a myriad of obstacles, including the judgmental eyes of her co-workers who can’t seem to look past her risqué outfits to see the strong woman standing before them, and transitions from a struggling mother to a tenacious legal assistant, proving that strength of character lies within. 

Veering back toward lighthearted comedy, Will Gluck’s “Easy A” delivers a hilarious modern-day take on Nathaniel Hawthorne’s “The Scarlet Letter,” focusing on society’s hypocritical perception of men and women concerning sex. Emma Stone stars as Olive Penderghast, a bright-eyed high school student who agrees to lie about sleeping with a boy to increase his social status. As word of her alleged exploits spread, Olive suddenly faces judgment from her peers, propelling her on a journey of self-empowerment even in the face of social rejection.

Co-starring Penn Badgley, Amanda Bynes, Thomas Haden Church, Patricia Clarkson, and Stanley Tucci, this engaging comedy tackles meaty topics via Gluck’s fine-tuned quick wit. Stone is terrific as Olive, delivering sarcastic quips with ease while making us empathize with her character. Like Hester Prynne in “The Scarlet Letter,” Olive endures ridicule, is abandoned by her friends, and is all but forced into isolation. However, she comes to appreciate her predicament and grows closer to the people who accept her for who she is. As she explains in a final monologue, what she chooses to do is “nobody’s g****** business.”  

“The Devil Wears Prada” stars Anne Hathaway as Andy Sachs, a young fashion journalist who lands a job at Runway magazine headed by the deeply authoritative Miranda Priestly (Meryl Streep). At first, the two women butt heads as a result of Andy’s lack of knowledge, but eventually, they begin to respect each other. However, a trip to Paris leads Andy to see Miranda’s true self, forcing her to decide whether to traverse a similar path as her boss or branch off in a new direction through the fashion industry.

This David Frankel-directed picture doesn’t earn points for originality — Andy’s journey hews close to the same formula as Elle’s in “Legally Blonde” — but stands out among others of its ilk thanks to Aline Brosh McKenna’s witty screenplay and strong performances from its stars. Streep earned an Academy Award nomination for her work and brings the right amount of vile and vulnerability, transforming Miranda from a sneering one-note villain to a multifaceted woman harboring deep sadness underneath her lavish appearance. She’s so good that they’re planning on making a follow-up! 

Finally, “Romy & Michele’s High School Reunion” sees lifelong best friends Romy (Mira Sorvino) and Michele (Lisa Kudrow) attend a high school reunion under the guise of being successful businesswomen. In reality, they are single, broke, and insecure. Feeling ashamed of their lives, they see the reunion as an opportunity to get back at — or impress — their former classmates, but they wind up pushing the lie too far, leaving their friendship on the brink.

Tired Hollywood troupes aside — why does every popular high schooler devolve into fat, lazy bums later in life? — “Romy & Michele’s High School Reunion” is an enjoyable fantasy revolving around the importance of self-acceptance, no matter the situation. Success, you see, isn’t measured by dollars and cents but rather by friends and family. Thankfully, our heroines learn the value of their lives just in time to right the ship. Rather than linger in mediocrity, they decide to make something of themselves and utilize their natural skills to arrive at a much better circumstance.

Again, none of this is particularly new, but director David Mirkin and screenwriter Robin Schiff give this oft-told tale a fresh spin, replete with memorable dance numbers, quotable moments, and a heartfelt, feel-good ending, which feels like a necessity if you’re looking for the best movies like “Legally Blonde.”