A prominent genre in the 1970s, good ol’ boy movies depicted wily, rough and tumble men (and some women) usually of the Southern persuasion with occupations that ranged from race car drivers, moon shiners, truckers, stunt men and sheriffs. Typically these men had a beef with someone—either the law or those not abiding by it—and in numerous action-packed sequences were on a journey to rectify their situations. Extremely popular with audiences, the films ranged from hard edged (Walking Tall) to fluffy fun (Smokey and the Bandit) to downright brilliant (Last American Hero).

Though many stuffy, pseudo elitist types simply label pictures like these as “redneck trash,” there’s a grittiness and subversive lawlessness you don’t see in pictures these days—not for the rural poor anyway. In films from Smokey to White Line Fever, law enforcement was often either stupid or corrupt—things to mock attack or evade. And justice, towards cops or criminals, could work collectively or vigilante style depending on your predicament. You could carry a big stick or start a convoy of trucks. Either way the TCB message, even if sometimes rendered cheesy, was distinctly American and frequently thrilling. Poor white trash tired of being called poor white trash sticking it to the man. How often do we see that these days?

Really, these movies glorified rugged individualism, and given their wonderful lack of slickness (can you imagine Michael Bay directing Macon County Line?) makes them all the more compelling. I miss these movies and I miss stars like Jan Michael Vincent, Joe Don Baker, Kris Kristofferson and Bandit-style Burt Reynolds. But for reasons I’m not entirely sure of (a change in fashion to more ‘80s tomes like Star Wars more than likely), the films ran out of steam and only a smattering popped up in the 1980s and ‘90s.

But with the big screen treatment of the ’70s TV show The Dukes of Hazzard, currently unleashed, will the trend change? The Rock re-made the classic southern fried Walking Tall, and David Gordon Green’s arty, Georgia-set Undertow (which he pitched as a Dukes of Hazzard episode as directed by David Lynch) and the re-emergence of the genre’s most popular star, Burt Reynolds (playing up his ‘70s image in Without a Paddle, The Longest Yard and The Dukes as Boss Hogg no less) a revival appears possible. Not that a revival could ever re-create the greatness of '70s Good Ol' Boy movies.

Nevertheless, to honor a genre I’m happy to see refreshed and re-started, I’m listing my ten favorite good ol’ boy movies. And keep in mind, these are distinctly good ol’ boy movies—so you won’t see great Southern films like Deliverance, Cockfigher, Cool Hand Luke or Prime Cut gracing the list. This is strictly CBs, fist fights, pissed-off sheriffs and fast, fast cars

10. Thunder Road (1958) A wonderfully complex Robert Mitchum starred in this depiction of the trials and tribulations of Appalachian moon shiners. The setting is evocative, the chase scenes exciting and the performances are sympathetic and regionally proud. A precursor to the good ol’ boy movies of the ‘70s, Thunder Road is an under-looked jewel. And you know, Robert Mitchum…you kind of have to watch any film he’s in.

9. Road House (1989) Road House wasn’t a hit upon release, which seems kind of surprising when you sit down and watch the thing. There’s just something so undeniably amusing about Patrick Swayze (who also starred in the 1998 trucker flick Black Dog) as the tough but sensitive bar bouncer (or rather, as the film calls him, a “cooler”) who goes up against an evil bar owner (Ben Gazzara--is he gay in the film?) intent on manipulating the entire town. Lots of fighting (with a martial arts touch—you’ll never forget Swayze’s throat technique or the strong notation of "left boot!") a love interest (Kelly Lynch) and the rowdy yet solid best friend (a perfect Sam Elliot) place Road House right into the genre of the good ol’ boy movies—even by 1989. And who can forget that famous line—“I used to fuck guys like you in prison!”

8. Walking Tall (1973) Based on the real Tennessee sheriff, Buford Pusser, the irrepressible Joe Don Baker dominates in a hard edged look at violent social justice. Taking a stand against bully gambling syndicates in his precious hometown, Baker’s Pusser resorts to some serious brutality in this gritty, popular film. Controversial for its message, Walking Tall makes an indelible impression on anyone who watches it—and Baker, with 2 by 4 in hand, is a perfect Pusser.

7. Hooper (1978) Burt Reynolds stars in the great Hal Needham’s (yes, I said great) take on a profession he knew a lot about—stunt work. Dealing with injuries, pill popping and a young nemesis (the oftentimes brilliant Jan Michael Vincent), Reynolds aging stuntman Sonny Hooper has a heap of obstacles interrupting his jumps, falls and explosions. Throw in lots of country music, Sally Field and copious beer drinking and here’s a good ol’ boy classic. 

6. Every Which Way But Loose (1978) Ah yes, the trucker movie—a genre long gone but certainly not forgotten. Especially when it comes to Clint Eastwood (or, ahem, Oscar winner Clint Eastwood) as the chivalrous, fist-fighting, Orangutan-befriending, country music-loving truck driver in Every Which Way But Loose. Looking for his country music singing gal pal he and Clyde (the ape) roam the country with bikers in pursuit. A sweet tough guy movie that also features the unforgettable Ruth Gordon as Ma.

5. Convoy (1978) Sam Peckinpah, the master behind The Wild Bunch and Straw Dogs directs this trucker movie in which, never mind the great Kris Kristofferson, the trucks are the real stars. A movie for big boys and their big wheels, Convoy showcases some of the greatest trucker action sequences in the history of the genre peppered with a continual stream of car crunching (cars are useless when it comes to trucks), CB radio usage and tough, tough talking. And you have to love a movie in which truckers put together a mile long "convoy" as a sort of hands across America backing of a trucker's feud with a shifty sheriff. Gritty and nutty, Convoy is an unforgettable Peckinpah oddity.

4. Macon County Line (1974) A year after Walking Tall, Richard Compton’s Macon County Line deals with similar issues (a supposedly factual story about a Southern sheriff intent on justice after his wife is killed by two drifters) and similar amounts of violence. The acting is extraordinarily effective, notably Max Baer, Jr. as the sheriff and real life brothers Alan and Jesse Vint playing nice, Yankee drifter brothers (as opposed to the bad ones who show up). Macon was a breakout drive-in hit.

3. White Lightning (1973) Burt Reynolds begins his run as Gator McKlusky, the moon-shiner anti-hero of White Lightning. Another story with a corrupt sheriff (played by Ned Beatty), this one finds Reynolds pitted against the lawman who killed his younger brother. Loads of action doesn’t get in the way of some genuinely interesting, emotional characters and the Arkansas locale is refreshingly rugged. As the movie ads read: “Meet the Bayou’s baddest good ol’ boy!”

2. Last American Hero (also called Hard Driver ) (1973) Based on writer Tom Wolfe’s famed articles on stock car racer Junior Jackson (Wolfe deemed him “The Last American Hero”), Lamont Johnson’s insightful, engrossing and thrilling look at moonshine, racing and good old American rugged individualism. A terrific Jeff Bridges stars as Jackson, a sweet guy who moves from running moonshine to stock car racing as a way to help his jailed father. A tight, wonderful script, top notch acting and superb racing footage place this film in the lost classic category. It’s truly that great. And the always impressive Bridges imbues the film with a fine mixture of necessary Southern roughness and poignant, poor boy charm.

1. Smokey and the Bandit (1977) Undeniable fun abounds in the king of the good ol’ boy movies—Smokey and the Bandit. Bo Darville nicknamed Bandit (Burt Reynolds) recruits his pal Cledus Snow (my weird crush, Jerry Reed—who sings the movie’s unforgettable hit theme song) and his eighteen-wheeler in the job of transporting 400 crates of beer from Texas to Georgia. But along the way, wily Bandit picks up a runaway bride hitchhiker (Sally Field) who ditched her wedding to the son of the foul-mouthed, ornery Sheriff Buford T. Justice (a brilliant Jackie Gleason) who’s none too happy about the situation. As the boys attempt to deliver the beer quickly, Justice is on their tail resulting in hilarious highlights with Gleason, excellent car chase sequences (thanks to director Hal Needham) and a bona-fide, but funny romance (and real life chemistry) between Reynolds and Field. For a southern fried comedy actioner, this is as good as it gets.

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