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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.

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.

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.

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 "Who Am I?" 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.

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.

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 bastards 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. 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.

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.

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.

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 Nazi 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.

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