It all started for Steven Spielberg with Duel, his 1971 telemovie produced on a budget of less than $500,000. Dennis Weaver stars as David Mann, a salesman driving through the Mojave Desert in a red Plymouth Valiant. In what might amount to a dual (pardon the pun) case of road rage, Mann and a mystery guy in a beat-up tanker truck engage in a deadly game of cat and mouse, most of which involves Mann trying to stay ahead of the truck. Try not to shudder when a train approaches, or when the truck flattens a woman’s roadside business (leaving Mann with a tarantula on his leg). But we’re partial to the trucker waving Mann on, resulting in a frenzied open-road pursuit.

Since we’re celebrating the imminent release of Fast X, we’ve got to include a chase from the franchise, right? They’ve gotten ridiculously outlandish at times, with scenes featuring a submarine, and even going up in space. But let’s keep it simple and go back to the OG F&F, to the scene at the end in which Dom (Vin Diesel) and Brian (the late Paul Walker), in their juiced-up cars, drag race for a quarter-mile, beat a speeding train by a fraction of a second, and make their peace. It was simple, sweat-inducing, quite fitting, and it launched a gazillion-dollar enterprise.

Against All Odds, Taylor Hackford’s very-very ’80s romantic thriller, leans deep into melodrama as a couple of big-ego guys–played by Jeff Bridges and James Woods—basically swing their manhood for two hours. At one point, though, we’re treated to a whiz-bang race along Sunset Boulevard that turns into an open-top car chase, then into a race again, and … you get the idea. Bridges goes vroom in a gorgeous red 1983 Porsche 911 SC Cabrio, while Woods speeds around in a black 1982 Ferrari 308 GTS. But here’s our question: How did the adorable white dog riding with Woods survive?

Ridley Scott has directed some unlikely movies, Thelma & Louise chief among them. It remains a classic, with star turns by Susan Sarandon and Geena Davis, and a star-making performance from Brad Pitt. A 1966 Ford Thunderbird also plays a pivotal role, as it’s the car driven throughout by Thelma and Louise as they go on the run. At the end of the movie, a cool chase leads to a fateful decision, as the ladies drive the car off a cliff, presumably plunging it—and themselves—into the Grand Canyon and into movie history. That scene still startles, decades later.

Stuntman-turned-director Hal Needham returned to direct Smokey And The Bandit II, the sequel that once again pitted uber-charming Burt Reynolds against Jackie Gleason. Reynolds stars as the Bandit, a bootlegger hunted by Gleason’s blustery Sheriff Buford T. Justice (and his inept son). Amidst the laughs (thanks, Jerry Reed) and the romance (the sparks were still flying then between Reynolds and Sally Field), Needham stages numerous chase sequences. In one of them, Bandit tries to outrun Sheriff Justice, zigzagging through the base of a wooden coaster. Right after they both exit the structure, it collapses. Yes, they toppled a real coaster, which Needham captures up close and in a wild wide shot. Silly movie, great scene.

Picture, if you will, Michael Bay watching Bullitt and thinking to himself, “Hell, yeah, I can do that bigger and better.” In The Rock he gives it his best shot, letting Nic Cage (in a bright yellow Ferrari F355) chase Sean Connery (in a Hummer) all over San Francisco for five minutes. In typical Bay fashion, we get exactly what you’d expect: the loudest, most bombastic, and fastest-edited sequence you can possibly imagine, with cars utterly wrecked and stuff flying everywhere. It’s a pure adrenaline rush that pauses for a brief second to allow Connery to quip, “I hope you’re insured!”

Director F. Gary Gray drove moviegoers into theaters in, well, droves with his surprise hit remake of the 1969 action-heist flick, The Italian Job. It stars Mark Wahlberg, Charlize Theron, Edward Norton, Jason Statham, Mos Def, and a trio of Mini Coopers. As part of one extended, bravura sequence set in Los Angeles, Theron, Wahlberg, and Statham each steer a Mini down the steps to the Metro subway, outrace a train, and hurtle onto the train tracks to lose the surveillance of Norton, who looms above the city in a helicopter. The Minis make for maximum entertainment.

Edgar Wright kicks off this awesome, jaunty action-heist movie with an unforgettable six-minute opening sequence that introduces all the key players and establishes the production’s wit and playfulness. Getaway guy Baby Driver (Ansel Elgort), in his unassuming red Subaru, drops off Jon Bernthal, Eiza Gonzalez, and Jon Hamm at the bank they’re about to rob, cranks up some music in his earbuds, and, after the heist perfectly, wordlessly, and without breaking a sweat evades a fleet of Atlanta police cars as he whisks the robbers to their rendezvous point. Somehow, the rest of the movie is equally slick, witty, and engaging.

Raise your hand if The Matrix Reloaded disappointed the hell out of you. Yeah, us too. Still, it was worth the price of admission for the stellar imagery and several memorable scenes, notably the centerpiece freeway sequence. The Reloaded team—led by stunt coordinator R.A. Rondell—erected 1.25 miles of road in Alameda, California, mapped out every iota of practical stunt action (motorcycles, cars, explosions, fights, etc.) and visual effects, and deployed all manner of cameras to capture everything. Twenty years later, the sequence remains a marvel.

We can argue all day about the greatest car chase in the James Bond franchise. As much as Die Another Die sucks (and it really sucks), the ice chase remains an offbeat, inventive winner. However, we’re going with the moment in The Man With The Golden Gun in which 007 (Roger Moore), while chasing Scaramanga (Christopher Lee) and Nick Nack (Herve Villechaize) around Bangkok, zooms his AMC Hornet two-door hatchback across a rickety wooden bridge, corkscrewing in midair and sticking the landing. All hail stunt driver Loren “Bumps” Willert, who nailed the stunt in a single take.

John Belushi and Dan Aykroyd brought their Saturday Night Live characters Jake and Elwood Blues to the big screen in John Landis’ raucous comedy, The Blues Brothers. The movie is an unwieldy and ridiculously fun hot mess bolstered by great music, amusing cameos, and a chase for the ages. In it, every cop car in Chicago and a Pinto driven by two determined Nazis chase Jake and Elwood (who drive a 1974 Dodge Monaco). Landis piles on the wreckage as cars careen, crash, and spin out. Best of all? A tie between the magical car flip on an in-construction bridge and the Pinto flying off the bridge. For the latter, Landis dropped a Pinto 1,200 feet from a helicopter!

Mad Max fans harbored massive expectations for George Miller’s return to his post-apocolyptic universe and with Mad Max: Fury Road he didn’t disappoint. The film is an action masterpiece with feminist and environmental messages. Huge chunks of it involve heavily armored cars and trucks driving across desolate wastelands. But nothing beats this: Max (Tom Hardy) strapped to the front of a car driven at high speed by Nux (Nicholas Hoult), with Miller’s camera floating back to provide context that includes drummers banging away on a truck, a guitarist hitting a fiery note, and Immortan Joe (Hugh Keays-Byrne) catching Nux’s eye. It’s all practical, and practically brilliant.

William Friedkin helmed two chases on our list, the more famous of which occurs in his Best Picture Oscar winner, The French Connection. Shouting “Police emergency. I need your car,” Popeye Doyle (Gene Hackman) commandeers a man’s Pontiac LeMans to pursue baddie Alain Charnier (Fernando Rey) across much of Brooklyn. Did we mention that Charnier is on a train? On an elevated track? So Friedkin cuts back and forth between Doyle frantically driving and the chaotic action aboard the train. It’s a thrilling, bravura sequence with a great payoff (check out the movie’s poster), much of which Friedkin filmed last-minute and without obtaining any permits from the city of New York.

Some folks consider To Live And Die In L.A. William Friedkin’s most overlooked film (we’d go with Sorcerer, The Brink’s Job, or Bug). It’s okay, if a little overwrought, heavy-handed, and too lush for its own good. Still, the film benefits from one batshit-crazy car chase around the City of Angels. More than five minutes into the chase, William Petersen eyeballs a sign that warns: Do Not Enter. Wrong Way. And off he goes, kicking an already high-octane sequence to the next gear and leaving a mess of wrecked cars and trucks—not to mention a couple of pissed-off pursuers—in his wake. Try not to laugh when a traffic reporter refers to the situation (which took six weeks to film) as “a minor tie-up.”

Steve McQueen, in his green 1968 Ford Mustang Fastback GT, subtly follows his prey (assassins in a Dodge Charger 440 R/T) around the streets of San Francisco. Almost-playful music complements this portion of the scene. Then, boom, wheels screech and it’s off to the races, with McQueen zipping along at more than 100 miles per hour. The sequence ends, nearly 11 minutes later, in a fiery explosion. It’s old-school action, shot by director Peter Yates over the course of three weeks. That scene made McQueen (who did his own driving) and the Mustang (two were used) super-cool icons.

There’s not much of a movie here. Basically, Kowalski (Barry Newman) drives … a lot, for the love of it, for the freedom of doing so. But the chase scenes not only rock, they also influenced Steven Spielberg, Quentin Tarantino, Edgar Wright, and other directors who clearly took major cues from director Richard C. Sarafian’s cult favorite. The most memorable chase pits Kowalski’s Dodge Challenger R/T 440 Magnum against a random driver’s Jaguar E-Type. The cars zip along a winding, dusty road until they approach a narrow metal bridge–and only one car can fit. Fun fact: to make the cars look like they were driving fast, Sarafian and DP John Alonzo slowed the film rate to half-speed.

Murderous, misogynistic Stuntman Mike (Kurt Russell) embarks on a killing spree using his “death proof” car. But he meets his match in Abbie (Rosario Dawson), Kim (Tracie Thoms), and Zoë Bell (the iconic stuntwoman, playing herself). Say what you will about the film as a whole, but director Quentin Tarantino stages a chase for the ages. In it, Bell (in a bit called “ship’s mast”) rides the hood of a 1970 Dodge Challenger (QT’s tribute to The Vanishing) as Kim puts the pedal to the metal, only for Stuntman Mike to follow in hot pursuit. It’s an unrelenting, loud, and memorable.

John Frankenheimer directed Ronin, an entertaining but imperfect action-drama about dangerous men (Robert De Niro, Stellan Skarsgard, Sean Bean, Jean Reno) hired by an Irish operative (Natascha McElhone) to steal a briefcase. Ronin delivers great car chases, the most famous one unfolding across seven remarkable minutes, as a nervous De Niro (joined by Reno in a Peugeot 406) chases an icy-cool McElhone (accompanied by Jonathan Pryce in a BMW E34 5-series) through Paris in broad daylight. Frankenheimer immerses you in the action, covering it from every conceivable angle. It’s simply enthralling. Listen closely, too: for more than half the sequence, Frankenheimer eschews any music, letting screeching tires and revving engines complement the action.