At first glance, it wouldn’t seem that “Bridesmaids,” “The Hangover Part II” and “Midnight in Paris” have much in common other than the fact that they are all comedies currently packing a theater near you. True, there’s a wedding somewhere in the offing in all three, but the “I do’s” and “Maybe I won’ts” are merely footnotes.

The movies themselves are decidedly different comic beasts in taste, quality and style, and critical reaction has been just as varied (raves for “Bridesmaids,” cheers for “Midnight,” jeers for “Hangover II”). Audiences, on the other hand, as distinct as the films themselves, are universally embracing them in impressive numbers. The comedies’ comfortable coexistence (rather than the cannibalism that typically prevails) is such a rare occurrence, it’s hard to remember the last time it happened. And for fans of comedy, in whatever shape or form it comes in, that’s good news.

Beyond all the self-promoting statistics used by studios (“best opening for an R-rated comedy starring women that opened before Memorial Day”), the collective success of “Hangover II,” “Bridesmaids” and “Midnight” is significant for a couple of reasons: First, Hollywood always backs a winner; there are already talks of another “Bridesmaids,” “The Hangover Part III” has got to be a greedy glimmer in some exec’s eye, and Woody Allen’s been averaging a comedy a year for about as long as most of us have been alive — maybe next time Rome will be in the title.

Of the three, “Bridesmaids” is the most revolutionary: a female-centric raunchy comedy, written by women and starring women as occasionally inappropriate, sometimes indelicate and always believable. “Midnight in Paris,” though not perfect, is charming enough and the filmmaker’s best since “Vicky Cristina Barcelona” in 2008. Meanwhile, “The Hangover Part II,” despite the massive box-office take, doesn’t come close to “The Hangover” high of 2009. Animals, strippers, Mike Tyson, etc. — the emperor just got new clothes for the trip to Thailand. Which does not, however, mean the film doesn’t have its share of laughs.

And that brings me to the second point. This particular threesome gets the funny fundamentals right. Which is a relief, because so many recent movies have not. Consider a few of the forgettables: “No Strings Attached,” “Something Borrowed,” “Due Date,” “The Dilemma” “Hall Pass,” “Arthur,” “Just Go With It” … Thanks, but we’d rather not.

So what are the common threads, and who did it best?

They’re relatable: All three films are playing around with that most typical of adult maladies — pre-wedding jitters — albeit from opposites sides of the aisle, and the ocean: Kristen Wiig’s maid of honor fighting to keep her best friend status in “Bridesmaids”; Owen Wilson’s blocked writer wondering if he’s marrying the right one in “Midnight”; and Ed Helms’ Stu just hoping his soon-to-be-brother-in-law is still alive.

They’re physical: Here there are echoes of Jerry Lewis, Carol Burnett and the slapstick kings, the Three Stooges. It’s the clever use of a comic tradition that makes the most out of the body — from contortions to the pain-induced nyuk, nyuk, nyuk variety.

They’re emotional: Just because there is fun to be had at everyone’s expense, a comedy still needs heart. Or, if you’re four guys bonding over a major screw-up, heart-lite. This is where “Bridesmaids” moves to the head of the class, a spot Allen and his films have occupied for years. There is a real sweetness in Wiig’s desperation to win the bride, then the boyfriend back.

For my money, “Bridesmaids” is by far the best of the bunch. Fresh point of view, smart script, actors who play every type of funny just right, a director in Paul Feig who knew when to rein them in and when to let the girls go wild.