The 18 Best Jackie Chan Movies Ranked

Any conversation about action cinema has to include the name Jackie Chan. It's a legal requirement. He's far from the only action star, but his accomplishments and influence on the genre are undeniable. While Chan's earliest films saw producers trying to make him into the next Bruce Lee, Chan found his own footing in the late '70s by blending creative choreography with humor. He's never looked back. From one of the best fight scenes of all time in "Wheels on Meals" to the epic stunts in "Armor of God II: Operation Condor" to blockbuster Hollywood efforts like "Rush Hour," Chan is the action star.

Chan's heyday ran from the late '70s through the late '90s, and fans would be hard-pressed to find a Chan film during that time that doesn't deliver the goods. Picking the best can be difficult, and not only because a list of Chan's best fight scenes would undoubtedly include different choices. One quick note: We're only considering films with Chan in a lead role, as otherwise the list would just be "Enter the Dragon" 17 times, then "Attack of the Kung Fu Girls" at number one (we kid).

Did I say that Jackie Chan's best years ended before the new millennium began and then opened this list with a movie from 2017? Yes, I did. "The Foreigner" is late-career Chan and a bit light on the action, but it still belongs here. Chan plays an immigrant who left a shady past behind him to raise his daughter, only for those past skills to come roaring back when she dies in a terrorist attack and Chan seeks revenge. Pierce Brosnan stars in one of his best performances as a politician and former IRA member, and while his motivations play fast and loose, Chan's character is driving hard towards those responsible.

Martin Campbell, a director whose own career features more than a few action gems, balances plot, character, and action to deliver a thrilling tale with an emotional punch. Chan gives one of his best dramatic performances as a dour man fueled by rage and capable of unleashing hell, and while the story precludes big, fun set-pieces, the action is all the more satisfying for it. Cathartic violence is the best violence, and when scored by Cliff Martinez, it's music to your action-loving heart.

The oldest film on this list, "Snake in the Eagle's Shadow" earns its spot for numerous reasons. Sure, its story is generic — a young man is berated and beaten until serious training makes him a fighting master — but it's nonetheless a groundbreaking feature. Not only is it the directorial debut of Yuen Woo-ping, a legend who would go on to choreograph fights in multiple Hong Kong efforts, "The Matrix," and "Kill Bill," but it's also the first time that Jackie Chan stopped trying to be something he's not and instead cut loose with his own style and personality.

Alternately silly and cruel, the barebones story is merely a framework on which to hang a showcase for both Yuen's choreography and Chan's physicality. The result is a seemingly effortless display of control and precision as Chan's style grows to incorporate literal effects and motions from animals (to that point, stick with the international versions, as they trim a nasty little brawl between a cobra and a house cat). The action highlight, though, might just be a comedic sequence in which Chan tries to keep a floor clean.

One of the most successful buddy movie franchises of the 20th century, what makes the "Rush Hour" series so memorable is the clash between the personalities of its two leads. The films benefit significantly from casting the usually animated Jackie Chan as the stoic Inspector Lee, effectively playing the straight man to Chris Tucker's flamboyant detective Carter. 

While he is a fish out of water in the first film, "Rush Hour 2" places Chan back on his home turf, facing off against the Hong Kong triads. The more personal relationship between Lee and the film's villain (John Lone) brings out some subtler elements to Chan's performance, and he shines in the film's few quieter moments.

Chan himself had some conflicting feelings about the "Rush Hour" movies and their Americanized action sequences, but the compromise between his style of filmmaking and Brett Ratner's more conventional direction arguably proves a virtue. The focus is generally on the plot rather than the stunt sequences (which admittedly can threaten to hijack his other star vehicles), making the film a bit more palatable to Western audiences. That being said, there are still enough flashes of Chan's unique style to satisfy fans of his Hong Kong films, particularly in the second entry. In particular, the sequence where Lee has to fight while dealing with a bomb taped inside his mouth and the battle on the bamboo scaffolding are great examples of his trademark fight choreography – adding obstacles for himself and finding creative settings for fight scenes.

Along with 1998's "Who Am I?," Sammo Hung's "Mr. Nice Guy" arguably marks the end of Jackie Chan's run of guaranteed good times. It was originally planned as the fifth "Police Story," and the direct-through line from "Police Story 4: First Strike" is evident in the Australian locales and English-language script. Chan plays a celebrity chef who gets mixed up with mob shenanigans after the criminals come to believe that evidence of their foul play has landed in his possession. They go after the chef and his friends, and Chan makes a meal out of them.

The inclusion of "Mr. Nice Guy" will lead some to doubt my sincerity, but it's an entertaining blend of casual thrills, silliness, and the occasional mean-spirited villain. Richard Norton plays the big bad, making this a reunion for the two after co-starring together in Chan's manga-inspired "City Hunter," and he's both a great fighter and a wonderful ham of an actor. It all builds to an explosive finale, but just getting there involves some thrilling set pieces, including a chaotic construction-site brawl.

After making his directorial debut the year before with "The Fearless Hyena," Jackie Chan returned with a visibly improved grasp on pacing, character, and fight direction in 1980. "The Young Master" sees Chan's character searching for his brother and being mistaken for an escaped criminal along the way. He's forced into multiple fights, but he has no need of training — he only requires motivation. Bad guys are happy to oblige, leading to a series of set pieces that, despite the occasional comic dressing, are deadly serious affairs.

There are small highlights throughout, but the film's highest peaks come in the form of its bookends. The movie opens with a beautifully designed dance that sees multiple performers move a dragon-like paper lion through meticulous movements — part dance, part competition, all masterfully executed — while the ending is the big fight audiences are expecting. It unfolds atop a hill with landscapes in all directions, and it goes on for 15 minutes or so. It's Chan versus Hwang In-shik, and our hero gets his behind handed to him repeatedly until a last-minute swig of bong water pisses him off and makes him unbeatable.

The "Police Story" continuity starts to wobble here, meaning no more Maggie Cheung, but "First Strike" is still a ton of sun-drenched fun. Jackie Chan's Hong Kong cop finds himself inexplicably enmeshed with America's CIA and sent on a mission to Ukraine before being shipped off to Australia (by way of a Russian submarine). That's right, Stanley Tong of the third "Police Story" is once again in the director's chair! That's not a knock, as the bigger action beats entertain and the overall silliness never gets in the way of the thrills.

Chan's trademark fight genius remains on full display throughout. From the early snowbound brawls to an underwater fight interrupted by a hungry (and laughable) shark, the film delivers plenty we haven't seen from Chan before. The highlight has him interrupt a memorial hoping only to talk, but the targets don't listen and attack instead, leading to a terrific fight in which Chan makes brilliant use of a ladder. As with the third installment in the series, "Police Story IV" does away with the seriousness of the first two franchise entries, resulting in stress-free entertainment.

"Police Story 2" makes a direct effort to pick up the story and character threads from the first. Jackie Chan's character is still having romantic squabbles with his girlfriend (Maggie Cheung), and while he's targeted by the first film's villains, there's also a new threat involving a series of bombings. The second act mostly eschews action beats for character work and plot — it adds some minor bloat and accounts for the film's apparently lesser standing — but it works and finds some laughs. And when the action hits, it's killer.

An early restaurant fight and a blistering playground throwdown whet the appetite for what's to come, after some lowlifes abduct Chan's lady and force him to unleash hell. The fireworks explode, quite literally, in a fireworks factory. We get a full 10 minutes of Chan facing off against multiple bad guys, and the action features fights, big stunts, and a gag that left Cheung with scalp stitches. It all leads to a fiery finale as explosives, neon lights, and more leave everything ablaze.

Jackie Chan's filmography consists mostly of fun-loving guys who kick butt, but he's dabbled in more serious roles too. "Crime Story" is one such example. It almost plays like a laugh-free "Police Story" film. Chan is a cop, a rule-breaker, and he's targeted some cruel jerks for violent justice, but where he'd normally make time for relationship hijinks and playful action beats, this time it's all business. Some fans won't follow him down this road, but Chan more than holds his own as an actor while still delivering terrific action sequences, including a beautifully shot fight amid bamboo rafters and flowing draperies.

The film is based on the real-life kidnapping of a Chinese executive, and Chan plays a cop determined to see the case through to its conclusion. Gun fights, minor scraps, and some intense car action follow, but the drama is heavy here. That will strike some as odd, but it works. Chan's cop is suffering mentally from the carnage, and it lends the film a more emotional tone than Hong Kong action movies typically aim for. Director Kirk Wong crafts a legitimately dramatic thriller, and I promise it's worth your time.

Made and released just seven months after "Snake in the Eagle's Shadow," "Drunken Master" reunites Jackie Chan with director Yuen Woo-ping for another groundbreaking classic. The action once more comes fast and furious as Chan finds himself caught up in all manner of conflicts, and he went to dizzying lengths to perfect the movie's titular fighting style. He loses a few early on, including one against his aunt and another against a villain known for his "Devil's Kick," but after some grueling and visibly painful training, he returns to defeat the bad guy.

The groundbreaking aspect comes in the film's portrayal of the much revered and frequently adapted character of Wong Fei-hung. More than a hundred films have been made featuring the real-life physician/martial artist, but Chan was the first to really poke fun at the character. Chan's portrayal gives viewers a playful, crass, and at times belligerent Wong, and it works to the film's benefit as it offers both a unique personality and arc.

I might catch hell for ranking this one so highly, but "Rumble in the Bronx" is an unapologetically entertaining blast. More movies could stand to deliver so completely on their intentions, and here, Jackie Chan and director Stanley Tong simply want to have fun while showcasing Chan's extraordinary physical prowess and the beautiful mountain landscapes rising majestically outside of New York City. This was the film that helped introduce Chan into the U.S. mainstream, and it undoubtedly holds a place in my heart for that alone — but it also has the chaotic and ridiculous action chops to back it all up.

Chan plays a visitor to "NYC" who finds a neighborhood in disarray and overrun by gangs. One group of ruffians tries to mess with him, only to get schooled in the art of using everything within reach as a weapon. The interracial gang is exaggerated in every way, but the comedic styling never gets in the way of the action, which is frequent, fast, and terrifically fun. And that's even before a big hovercraft comes ashore, threatens to run over a child, and finally gets gutted by an extremely creative maneuver.

At the risk of sounding blasphemous, the true Holy Trinity consists of Jackie Chan, Sammo Hung, and Yuen Biao. "Dragons Forever" is one of their two greatest triumphs as a filmmaking team, and all three shine as fantastic martial artists with highly entertaining personas. The plot here focuses on a chemical corporation that's up to no good and the three men — a lawyer, an arms dealer, and a goofy inventor — who come together to stop them.

All three get to show off their masterful skills alongside some comedy bits, romantic endeavors, and the occasional politically incorrect comment — it was the '80s! — creating 90 minutes of entertaining bliss. They fight each other, they fight others, and ultimately they fight Benny "The Jet" Urquidez in a rematch four years after "Wheels on Meals." Amazingly, that fight isn't even the solo highlight here, as it's shared with the cigar-slurping boss, Yuen Wah, who strikes with a precise economy of motion and has mastered staircases better than you ever will.

The "Police Story" franchise leaves Hong Kong behind for the mainland, but that's not the only big addition here. After years of women in Chan films existing as props or punchlines, "Supercop" sees Chan finally work up the courage to let one be an absolute badass. Michelle Yeoh joins the mission and proves herself every bit as capable as a fighter and action star. She has the comedic patter down too, and they make for an energetically entertaining duo.

The film offers the expected blend of fights and stunts as the pair go undercover to shut down a drug lord's operation, and it all feels bigger as a result. Chan hands the director's reigns to Stanley Tong, who seems more comfortable with the fiery bombast than the nitty gritty of the fight scenes. It's a trade-off — some of the fights feel less free in their editing, but the result remains an immensely enjoyable film. The big finale involving moving trains, motorcycles, and helicopters is a standout for all involved, but it's notable in that Chan lets Yeoh's stunt work shine brightest (although that probably explains why they never co-starred again, outside of 2011's "Kung Fu Panda 2"...).

Jackie Chan starred in several films with Yuen Biao and Sammo Hung — enough for the trio to gain the nickname "The Three Dragons" — but "Wheels on Meals" remains their most fun collaboration. They have a natural chemistry, due to the longstanding friendship dating back to their days training together at the China Drama Academy. All three are at the height of their powers here, demonstrating their martial arts prowess and knack for physical comedy.

Chan and Biao play cousins who own a restaurant, where Chan memorably delivers his orders via skateboard. They become embroiled in intrigue when their friend Sylvia (Lola Forner) goes missing, and they team up with wannabe private eye Moby (Hung) in his efforts to find her. Chan's finest hour comes in a climactic fight with Benny Urquidez (the baby-faced assassin from "Grosse Pointe Blank"). Often hailed as the best fight of Chan's screen career, it's still memorable today thanks to the sheer intensity and the toll it takes on both fighters. They look utterly exhausted by the end.

One reason Chan remains such an endearing screen presence is his impressive lack of vanity in fight scenes. In stark contrast with certain contemporary action stars, Chan is never afraid to play the fool or the coward. The fight with Urquidez is intense and brutal, but there are still moments of comedy. It's a brilliant blend of Buster Keaton and Bruce Lee, with high stakes and genuine laughs.

A vast improvement on its predecessor, "Operation Condor" is a playful romp that liberally pays homage to the adventures of Indiana Jones and James Bond. Jackie Chan plays Asian Hawk, a treasure hunter turned secret agent (complete with gadgets and a multi-purpose car) hired to recover 250 tons of gold that mysteriously vanished into the Sahara Desert.

Made five years after the first film, it's a much better paced, more tonally consistent film, with Chan having spent the interim honing his skills both behind and in front of the camera. In a canny move, Hawk has undergone a bit of a personality overhaul. Gone is the mercenary, sometimes dour fortune hunter from the first film, and instead, Chan makes Hawk an affable, wholesome character, much more in line with the comic onscreen persona we all know and love today. Chan deftly balances the technically incredible fight scenes with slapstick and a farcical comedy of manners while making it all seem effortless. Most importantly, these scenes are genuinely funny in a way that many similar films don't manage.

"Operation Condor" has everything you want from a Jackie Chan film — it's a success on almost every level, with breathtaking car chases and typically creative use of locations for the fight sequences (the underground jet plane hangar at the end is especially inspired). The cinematography is notably more impressive than a lot of his other films, and Chan himself makes a charismatic, endlessly likable lead.

Action isn't quite the focus of "Mr. Canton and Lady Rose," but don't let that scare you away. The film is available under numerous titles, including "Miracles," "Black Dragon," and "The Canton Godfather," but whichever version you find is a guaranteed treat. A loose remake of Frank Capra's "Pocketful of Miracles," the film sees Jackie Chan as a young man whose luck picks up after buying a rose from an old woman. That connection leads directly to him becoming a big boss with a gang of thugs beneath him, but his efforts to take their shenanigans straight leads to conflict and hijinks.

While comedy, romance, and kindness are the main threads, the film makes time for spectacular action too. Smaller fights and sequences show Chan's nimble and never less than impressive acrobatic skills, but a third-act fight in a rope factory is an all-timer, featuring beautiful beatdowns and brawls. Chan's direction is on-point during the big finish, but it's arguably even more eye-opening throughout as he captures 1930's Hong Kong with memorable period visuals, fluid camerawork, and pitch-perfect production design. And did I mention the great Anita Mui as the female lead?

You don't expect to find pirates in your Hong Kong martial arts cinema, but Jackie Chan was thinking outside the box with "Project A" and its sequel, "Project A 2." He plays Dragon Ma, a Coast Guard cadet turned cop turned rogue hero who finds a corrupt police department working in cahoots with pirates. That won't stand, and along with the always welcome Yuen Biao and Sammo Hung, Ma sets out to take the baddies down. Unlike their beloved "Lucky Stars" trilogy — films that missed landing on this list due to the trio's minimal presence and an abundance of objectively terrible comedy — the three talented friends get more to do here.

The film delivers several fights, but it's the set pieces and stunts that stand out. From a Harold Lloyd-like sequence hanging from — and falling from — a clocktower to a Buster Keaton-esque bicycle chase, Chan puts himself in elaborate situations that alternate between dangerous and playful. He very nearly breaks his neck at the end of that clocktower fall. "Cutthroat Island" this ain't.

While the bulk of Jackie Chan's '80s and '90s efforts are contemporary action films, he returned to the traditional period piece for this sequel to his 1978 classic. "Drunken Master II" sees Chan once more as the playful son to a respected man, and it's his antics that land his family in trouble. The story pits Chan's Wong Fei-hung against British goons who are trying to smuggle Chinese treasures out of the country, and it balances Wong's dual "fights" against both the baddies and his father's ongoing disappointment.

The action is endlessly brilliant, brutal, and impressive with no fewer than three unforgettable set pieces surrounded by smaller bursts of fun. The film opens with Chan facing off against Lau Kar-leung beneath a train and platform, both of which force the pair to fight hunched over in cramped quarters. They team up later for a legendary teahouse fight against dozens of thugs and use every bench, chair, and pole at their disposal. The final fight between Chan and Ken Lo — a top-five clash on Chan's resume — sees him burned, beaten, and red in the face as he imbibes rage-inducing alcohol almost to the point of bursting.

Chan had already shown an interest in accentuating his action with big stunts prior to 1985, but "Police Story" remains the absolute pinnacle of that pairing. The opening shantytown sequence is so epic that not only did Michael Bay rip it off for "Bad Boys II," but Sylvester Stallone borrowed a beat for "Tango & Cash," as well. There's more beauty and miracles of the human body in this opening 20 minutes than you'll find in most entire movies. And there's still 80 more minutes to go!

Chan plays a cop pushed to the brink by villains outplaying the legal system, and his efforts to bring them down leads to laughs and wince-inducing violence. A staged home invasion displays incredible comedic choreography and is followed by an even more elaborately constructed car attack. A bit with Chan juggling multiple phone calls is its own slice of perfection, while the finale in a big mall is arguably the highlight moment of Chan's career. Add in Bill Tung, Maggie Cheung, and Brigitte Lin, and you have the best Jackie Chan film in a crowded field.