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Wright's parody is better constructed than most of the films it mocks: a London supercop is exiled to a picture-perfect village, and the final act is staged better than the real thing.

Wright's parody is better constructed than most of the films it mocks: a London supercop is exiled to a picture-perfect village, and the final act is staged better than the real thing.

It held the record for cars destroyed on film and works as a music documentary besides: Aretha Franklin, Ray Charles, James Brown and Cab Calloway all get a full number.

Shane Black sold the script at twenty-three and set the buddy-cop template for two decades: one cop is counting down to his pension, the other is a widower nobody trusts to be careful.

De Niro is funnier here than in any comedy he tried to be funny in: a bounty hunter has to move an embezzling accountant coast to coast, and the accountant never stops talking.

Sylvester Stallone rewrote the script into an action picture, then quit two weeks before shooting: Eddie Murphy came in days later, and nobody escaped that synthesizer theme for years.

Eddie Murphy's first film role and he takes the whole thing over: Walter Hill built the interracial buddy-cop formula here, and the bar scene made a twenty-one-year-old a movie star overnight.

Jackie Chan had been a superstar everywhere except America and this finally fixed that: he does all his own stunts, and Chris Tucker talks at a frequency nobody else reaches.

It was the second biggest film of 1977 behind Star Wars, which nobody remembers: Burt Reynolds runs beer across state lines in a black Trans Am and grins at the camera throughout.