Film
Black Belt Jones
A 1974 blaxploitation action-comedy where a retired secret agent teaching martial arts to inner-city kids must protect his mentor's karate school from local thugs and developers. It's energetic, playful, and proudly cheap-looking—a film that knows exactly what it is and leans into the fun of it. For anyone who loves that specific '70s groove where action, humor, and genuine heart coexist without apology.
If you liked this
Foxy Brown1974
Pam Grier commands every frame as a woman avenging her boyfriend's death with style, violence, and unmissable charisma. It's the blueprint for how to make exploitation entertaining without losing its edge.
But The plot is thin and the pacing uneven. Some of the violence is genuinely ugly in ways that feel less fun than didactic.

Coffy1973
Grier again, this time as a nurse turned vigilante taking on drug dealers. Tighter and meaner than Foxy Brown, with a real sense of controlled fury under the action-movie surface.
But It's darker than it first appears, and the sexual violence on screen is not titillating—it's purposefully discomfiting in ways some will find unwelcome.

The Last Dragon1985
A disco-era martial-arts musical where the hero fights his way through New York toward enlightenment. It's joyfully weird, endlessly quotable, and genuinely inventive in how it blends genres.
But It's more interested in style and vibe than narrative coherence. If you need a tight plot, this will frustrate you.

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The wildcard
Something you would not have found on your own.
Dolemite1975
Both are unironic blaxploitation action-comedies that embrace their own tackiness as a form of freedom and authenticity. Neither film apologizes for what it is.
Rudy Ray Moore plays a pimp-turned-martial-artist freeing his godson from prison. It's anarchically funny, cheaply made, utterly sincere, and has aged into something genuinely fascinating about 1970s Black cinema and humor.
But The sexual content is casual and predatory in ways that feel very much of its era and won't play well to modern eyes. The fights are chaotic and hard to follow.

More like this (8)
The Protector1985
Jackie Chan protecting a young girl across Bangkok and Hong Kong, with stunt work so precise and creative it redefines what action comedy can be. His physical comedy is world-class.
But The dub is notorious and distracting if you're not watching in Cantonese. The story is perfunctory, mostly scaffolding for the next set piece.

Enter the Dragon1973
Bruce Lee's only major Hollywood film, and it's the platonic ideal of a martial-arts thriller: clean, deadly, filmed with real style. Everything that follows owes it something.
But It's quite serious in tone—no comedy, no lightness. If you want the fun of Black Belt Jones, this is the opposite register.

Come Drink with Me1966
King Hu's masterpiece is a wuxia film where a female martial-arts hero rescues her brother from bandits in the mountains. The fight choreography is balletic; the film is visually stunning.
But It's formally composed and deliberately paced—nothing like the ragged energy of '70s blaxploitation. Patience is required.

Three the Hard Way1974
Jim Brown, Fred Williamson, and Jim Kelly (yes, that Jim Kelly) team up to stop a white supremacist plot. It's unpretentious, energetic, and genuinely fun in its own pulpy way.
But The script is thin and the performances are variable. It's riding the wave of its three leads' charisma, nothing more.

Kung Fu Hustle2004
Stephen Chow's action-comedy about a small-time crook who stumbles into a world of hidden martial-arts masters. It's a love letter to action cinema that's also genuinely hilarious.
But It's heavily stylized with wire-work and CGI that might feel overdone if you prefer grounded action. The tone whiplashes between slapstick and dramatic.

An Evening with Beverly Luff Linn2018
A deadpan crime-comedy about a woman and her ex conspiring to kidnap a mysterious entertainer. It's offbeat, confident in its own strangeness, and funny in unexpected ways.
But Its humor is entirely dependent on patience and a taste for the absurd. Miss the wavelength and nothing lands; the plot is deliberately thin.

Brawl in Cell Block 992017
Both center an ordinary man's quiet competence at fighting as his primary way of solving the world's problems, played completely straight. The action is character, not spectacle.
Vince Vaughn as a heroin distributor turned minimalist fighter, methodically working through a prison to rescue his unborn child. It's meditative, brutal, and stranger than it has any right to be.
But It's slow and deliberately paced, with long stretches of silence. The violence, when it comes, is graphic and unpleasant rather than cathartic or fun.

The Legend of Drunken Master1994
Both treat martial arts as a form of street-smart ingenuity available to working-class heroes, mixing action and comedy without hierarchy between them. Both trust their lead's physicality completely.
Jackie Chan's masterpiece: a historical martial-arts comedy where a drunken fighter battles an opium-smuggling conspiracy. The fight choreography is astonishing and genuinely funny in equal measure.
But It's in Mandarin with subtitles, and much of the humor is physical and culturally specific. The plot is secondary to the action sequences.

People
Cast
Jim KellyBlack Belt Jones
Gloria HendrySydney
Scatman CrothersPop Byrd
Eric LaneuvilleQuincy
Alan WeeksToppy- Andre PhilippeDon Steffano
Vincent BarbiBig Tuna
Mel NovakBlue Eyes- Malik CarterPinky
Eddie SmithOscar
Alex BrownPlummer- Sonny BarnesTango
Directing
- Robert ClouseDirector
- Marty HornsteinFirst Assistant Director
- Joyce KingScript Supervisor
- Al SheppardSecond Assistant Director
Writing
- Oscar WilliamsScreenplay
- Alexandra RoseStory
- Fred WeintraubStory
Production
- Oscar WilliamsAssociate Producer
- Fred WeintraubProducer
- Paul M. HellerProducer
- Terry Morse Jr.Production Supervisor