Film

Burglar

Name: Burglar
Genre: Crime, Comedy
Released: 1987
Cast: Whoopi Goldberg, Bobcat Goldthwait, G.W. Bailey, Lesley Ann Warren, John Goodman

A 1987 comedy heist-mystery where Whoopi Goldberg plays a burglar framed for murder who must use her criminal skills to solve the crime and clear her name. It's a breezy, light crime caper that trades in charm and wisecracks rather than tension, with Goldberg's charisma carrying you through an absurd premise. Perfect for anyone who wants their crime stories funny first.

TMDb rating

2.6

If you liked this

Beverly Hills Cop1984

Eddie Murphy transforms a crime procedural into pure comedy through sheer personality and charm, much like Goldberg here. Fast-paced, funny, and full of great supporting performances that elevate simple material.

But The action sequences feel dated now, and the plot is fairly thin—it's really just a vehicle for Murphy's riffing, which works if you're in the mood for that.

Troop Beverly Hills1989

Shelley Long leads a similar blend of comedy and slight crime plotting with warmth and humor. It's got the same '80s energy, genial tone, and emphasis on likeable characters over plot mechanics.

But It's unabashedly fluffy and won't surprise you. The plot is predictable and the stakes are always low, which is either refreshing or boring depending on your mood.

The Grifters1990

A crime comedy with real style that centers a female con artist and the small cons that pay her bills. Annette Bening is brilliant, and it nails the tonal balance between humor and genuine stakes.

But It's darker and more cynical than *Burglar*—the comedy comes from character and desperation, not warmth. The ending is bleak in a way some will find uncomfortable.

Not sure tonight? Get a pick in a minute, starting from Burglar

The wildcard

Something you would not have found on your own.

Marnie1964

Both center a female protagonist who steals for a living, but *Marnie* asks why she does it and what it costs her emotionally, while *Burglar* asks what happens when she gets caught in the middle of something else. Same profession, completely different film.

Tippi Hedren plays a compulsive thief and con artist; Hitchcock explores her psychology with real sympathy. It's a thriller about a woman committing crimes, but treated with seriousness and depth instead of comedy—the same character type, opposite register.

But It's slow and deliberately paced in a way modern thrillers aren't. Some viewers find Hitchcock's treatment of Marnie as a damaged woman to be uncomfortably condescending; others find it enlightened for 1964. Either way, it's heavy going.

48 Hrs.1982

Eddie Murphy and Nick Nolte in a buddy cop comedy that redefined the genre. Snappy dialogue, real chemistry, and a light touch with violence make this feel effortless and hugely fun.

But The action is sometimes grim for a comedy, and some of the humor around racial dynamics hasn't aged gracefully. It's a product of its time in ways that can jar.

Trading Places1983

Dan Aykroyd and Eddie Murphy in a heist-comedy rooted in character and social observation. John Landis directs with real wit, and the plotting is clever enough to satisfy while staying light.

But It's very '80s in its sensibility and some jokes about race and gender read differently now. If you find that distracting, it'll diminish the fun.

Jumpin' Jack Flash1986

Whoopi Goldberg herself, in a spy-comedy that shares *Burglar*'s energy and her gift for comedy. It's got action, mystery, and Goldberg improvising her way through absurd situations with style.

But The script is often thin, and the movie coasts entirely on Goldberg's charm. If you're not already a fan of hers, this won't convert you.

Coming to America1988

Eddie Murphy at his most charming, playing a fish-out-of-water prince in New York. It's warm, generous comedy with real heart and a talented ensemble making the most of light material.

But It's very silly and the plot is almost nonexistent. It's a star vehicle first and a story second, which is either fine or frustrating depending on what you want.

The Big Easy1986

A New Orleans-set crime comedy with Dennis Quaid and Ellen Barkin that balances mystery, seduction, and humor. It's atmospheric, sexy, and genuinely fun without taking itself seriously.

But The plot is fairly standard corrupt-cop stuff, and some of the sexual politics are dated. It also gets a bit too serious in stretches, losing the light touch *Burglar* maintains.

Johnny Dangerously1984

A scrappy crime-comedy parody with Joe Piscopo and Danny DeVito, full of joke density and absurdist energy. It's trash in the best way—committed to the bit and unashamed of its goofiness.

But It's relentlessly silly and some gags don't land. The movie is proudly dumb in a way that can feel exhausting if you're not onboard immediately.

Columbo1968

*Burglar* is about someone committing a crime and then solving a mystery to clear themselves; *Columbo* is about someone solving a mystery by understanding character. The mood is similar—affectionate, smart, funny—but *Columbo* treats the puzzle seriously while *Burglar* treats it as an excuse for charm.

Peter Falk as the seemingly bumbling detective who's always three steps ahead. It's mystery and character-based comedy in equal measure—the pleasure is watching someone smart work a problem, delivered with warmth and humor.

But It's slow TV in a way that modern viewers often find patience-testing. Every episode follows the same structure and the formula is visible from scene one. If you need surprise in your mysteries, this won't provide it.