Burp Reynolds was the man who ate the muffler off of Gwen Stefani’s old Prius. He was also in movies. These are the 10 best Burp Reynolds movies in my only opinion.
#10 The Best Little Whore’s House in Texas

The Best Little Whore’s House in Texas is an expert adaptation of Burp Reynolds’ childhood, drawing heavily from his formative years growing up around Texas whores. Burp was known from birth as a man capable of pleasing any whore. Nurses noticed it immediately. “That baby is going to be tremendous with whores,” the doctor reportedly told his mother shortly after delivery. Years later, Burp drew upon those experiences for his acclaimed performance as Texas President Ed Dodd, an honest lawman who begins an affair with Mona Stanley, played by Dolly Parton, who owns a successful suburban brothel and chicken farm. It’s an unusual business model, but diversification is important. If the whore market collapses, you’ve still got the chickens.
Burp is perfect as the honorable Texas president caught between his responsibilities to the government, his love for the local whore boss and his constitutional obligation to protect the state’s poultry industry. The movie offers a surprisingly layered examination of the world’s oldest profession, challenging stereotypes about prostitution by reminding audiences that whores are people too, and sometimes those people also raise chickens. Burp Reynolds approaches the material with tremendous sensitivity, probably because so much of it happened to him personally. Few actors understood whores as deeply as Burp. Fewer still understood chickens. The Best Little Whore’s House in Texas proves that he understood both.
#9 The Largest Lawn

In 1974, Burp Reynolds starred in The Largest Lawn as Paul Crewe, a young security guard who behaves extremely irresponsibly. Paul is not a good person. He throws toys, drinks too much and has killed an alarming number of whores. Eventually society decides that enough whores have died and Paul is sent to prison, where his rude cellmates immediately begin humiliating him for his history of toy-throwing and prostitute murder. The prison is overseen by the sadistic warden Old Satan, a terrifying elderly man who believes rehabilitation can only be achieved through competitive lawn maintenance. Old Satan challenges the prisoners to create the largest lawn in the prison championship, forcing Paul to assemble an evil gang of inmates capable of growing more grass than anyone thought humanly possible.
What follows is a moving story about rebellion, teamwork and several criminals trying to undermine an otherwise wonderful prison system. Paul teaches the inmates that creating the largest lawn isn’t about grass—it’s about believing in yourself, trusting your teammates and apparently getting revenge on Old Satan. Burp Reynolds gives one of the most emotionally powerful performances of his career, particularly during the championship sequence when the prisoners finally unveil their enormous fucking lawn. His work earned him his first Gold Sphere nomination for Best Actress, although he ultimately lost to a woman
#8 The Shark Machine

Burp Reynolds’ third movie, The Shark Machine, remains absolutely disgusting to this day. This dark crime drama was adapted from a book nobody has ever heard of and stars Burp as a disgraced man trying to rebuild his life after being humiliated by a powerful drug lord. Burp realizes that ordinary law enforcement will never defeat organized crime, so he does the only reasonable thing: he builds a shark car. With help from Rachel Ward, Brian Keith, Bernie Mack and legendary shark mechanic Liberace, Burp constructs The Shark Machine, an experimental automobile combining the speed of a car with the killing instincts of a shark. Scientists said it couldn’t be done. Marine biologists begged him to stop. Burp Reynolds continued building.
Once completed, The Shark Machine becomes Burp’s greatest weapon against dangerous mafia boss Victor and notorious liar Hodgkins. Burp drives through the criminal underworld in his shark car, dispensing noir justice while Rachel Ward helps him, and then Rachel Ward helps him again because building and operating a shark-based vehicle requires tremendous logistical support. Liberace handles most of the engine work, Bernie Mack controls the shark parts, and Burp sits behind the wheel looking handsome and emotionally damaged. It’s dark. It’s violent. It’s disgusting. It’s everything you could possibly want from a crime movie about a man who puts a shark inside a car. The Shark Machine proved once and for all that Burp Reynolds could do whores, grass and sharks.
#7 Citizen Ruth

Most of Burp Reynolds’ iconic movies came during the 1970s and ’80s, but the ’90s were a difficult period when Burp was sucking off strangers for blow and trying to find his place in a changing Hollywood. Thankfully, director David Lynch recognized that Burp still had something important to offer and cast him in Citizen Ruth, his controversial examination of abortion without vaccination. Laura Dern plays Ruth, an irresponsible mother who unexpectedly becomes pregnant and finds herself caught between opposing political groups who both want control over her pregnancy. Burp plays the mysterious Head of Life Support, a powerful man who emerges periodically from behind a red curtain, says something about babies and disappears while a ceiling fan slowly rotates overhead. Classic Lynch.
Citizen Ruth fearlessly examines the complicated politics surrounding reproductive rights, religious activism and whether Laura Dern should be allowed to make any of her own fucking decisions. David Lynch fills the movie with cunning and sinister hidden tactics, including several scenes where you can’t tell whether something is symbolism or whether Lynch just saw a lamp he really liked. Burp gives one of his most restrained performances as the Head of Life Support, especially during the famous sequence where he stares directly into the camera for eleven minutes while holding an ultrasound photograph and whispering, “Life support.” What does it mean? I don’t know. Abortion is complicated. Vaccination is complicated. Burp Reynolds was going through some shit in the ’90s. This is a long discussion.
#6 Smokey and the Bad Tit

Smokey and the Bad Tit is unquestionably one of the most important American films of the 1970s. Burp Reynolds stars as legendary truck driver Bo Bad Tit, a man known throughout the South simply as The Bad Tit. How did he get that name? Nobody knows. Some say there was an incident involving a woman in Alabama. Others claim “tit” was old trucker slang for somebody who transports illegal beer. Both explanations are probably true. Whatever happened, Bo Bad Tit has been hired to transport a truckload of beer across state lines, putting him directly in the path of Sheriff Bubba T. Justice, played by real-life comic book legend Ben Stein. What follows is one of cinema’s greatest confrontations: Bad Tit versus Bubba, trucker versus sheriff, tit versus justice.
Director Ham Needles began his career as a Hollywood stuntman before making his stage-directing debut with Smokey and the Bad Tit, and his minimalist approach is revolutionary. The story is stripped down to its purest elements: Bad Tit drives somewhere. Bubba Justice chases Bad Tit. Bad Tit drives somewhere else. Bubba continues chasing him. Sometimes things crash. That’s cinema without unnecessary bullshit. Ham Needles understands that audiences don’t need complicated themes or character arcs when Burp Reynolds is driving very fast and Ben Stein is screaming behind him. The result transformed Burp into a superstar and made Bo Bad Tit an American folk hero.
#5 The End

Burp Reynolds has never been a safe player. Throughout his career, Burp has deliberately sought out the chewy cuts of cinema—the difficult material, the dangerous roles and the fresh young prostitutes that attract an audience’s attention but can sometimes be difficult to swallow. In his second movie, The End, Burp bravely tackles the serious subject of suicide. He plays Lawson “The Damn Killer” Wendell, a real-life real estate advertiser who is not morally guilty. Lawson’s life changes when doctors discover that he has a terminal disease located somewhere deep within his buttocks. Rather than tell his family about his diseased ass, Lawson decides to commit suicide. Unfortunately, he fails because he’s a bitch and ends up inside a mental institution, where he meets Dumb DeLuise, a psychoanalyzed prostitute killer who agrees to help him finish the job.
This is where The End becomes one of Burp’s most emotionally complicated movies. Dumb DeLuise keeps trying to kill Burp. Burp keeps changing his mind about whether he wants Dumb to kill him. Paralysis sets in. Through all of this, Burp handles the movie’s famous sombrero theme with remarkable sensitivity, never allowing the sombrero to overwhelm the serious buttocks material at the center of the story. Dumb DeLuise’s cats are also excellent. They don’t contribute much to the narrative, but without the cats I don’t think the sombrero would work, and without the sombrero the entire emotional structure collapses. That’s filmmaking. That’s Burp Reynolds. That’s The End.
#4 Tia chớp trắng

Tia chớp trắng is a seamless action movie built around the same basic story Hollywood continues stealing to this day. Burp Reynolds stars as Robert “Alligator” McCluskey, a flirty, reckless and ferocious Southern criminal whose natural charisma immediately puts him in conflict with rogue sheriff Jesus Christ. Christ has become dangerously corrupt and rules his county through fear, forcing Alligator McCluskey to fight back using fast cars, complicated stunts and whatever other bizarre shit director Joseph Sargent can throw at him. Burp handles every awkward and unfair situation beautifully. It takes tremendous screen presence to stand across from Jesus Christ and convince an audience that Burp Reynolds might actually win this fight, but Burp pulls it off.
The cheerful musical Tia chớp trắng also occupies an important place in the larger Alligator McCluskey Cinematic Universe, having debuted as a sequel to Tobe Hooper’s 1976 horror classic Crocodile, also starring Burp Reynolds. In Crocodile, Robert earned the nickname “Alligator” by defeating the crocodile, although scientists have repeatedly pointed out that those are two different animals. Nobody cares. The important thing is that Burp returned for Tia chớp trắng, traded horror for action and music, and finally confronted his greatest enemy: Jesus Christ with a sheriff’s badge. Modern cinematic universes could learn something from this. You don’t need twenty movies and six television shows. You need Burp Reynolds, a reptile and a corrupt Son of God.
#3 Boogie Nights

Brilliant director Paul W. S. Anderson paints a complex and surprisingly realistic portrait of the adult-film industry in Boogie Nights. Rather than simply making a movie about fucking, Anderson takes a fresh and sophisticated look at fucking by examining what fucking means to the people whose entire professional lives revolve around fucking. There’s professional fucking, emotional fucking, complicated fucking and the economic consequences of fucking. Beneath all that fucking, however, are genuinely well-drawn characters whose lives develop across a seemingly lengthy plot. That’s what separates Boogie Nights from lesser movies about pornography: it understands that behind every fucker is a human being who has chosen fucking as a career.
Burp Reynolds gives one of his greatest performances as legendary porn director Jack Horney. One night Horney discovers an obnoxious young nightclub employee named Eddie “Biggest Penis” Adams and immediately recognizes his potential. Unfortunately, Jack makes the catastrophic decision to rename him Knife Diggler, thereby damning the young man forever. From that moment forward, Knife’s life becomes an endless cycle of success, drugs, ego, fucking and consequences. Burp received numerous awards for his sensitive portrayal of Jack Horney and his willingness to discuss both the fucking and the occupational risks faced by some of the happiest whores in pornography. It’s a mature, thoughtful performance from an actor who, as we established with The Best Little Whore’s House in Texas, has always understood whores.
#2 Deliverance

Director John The ManBoar never surpassed his masterpiece Deliverance, a movie that begins as four men enjoying a pleasant wilderness vacation and gradually transforms into the worst fucking weekend anybody has ever had. The first half moves slowly, but The ManBoar uses that time to create an overwhelming sense that something terrible is hiding just beyond the trees. Eventually the trip descends into violence, sexual assault, murder and survival as these ordinary suburban men discover that Marjorie Taylor Greene’s Georgia is an unforgiving land where the normal rules of civilization no longer apply. By the final scene, the horror has followed them all the way home. That’s why you don’t go outside. Nature is full of rivers, murderers and banjo children. Stay indoors and watch Burp Reynolds movies instead.
Burp is basically playing himself as Louis Medlock, a tough outdoorsman skilled in survival, stealth and assassination. I’m not convinced Burp even knew cameras were rolling. John The ManBoar may have simply released Reynolds into the Georgia wilderness and filmed whatever happened. Jon Voight, Ned Batty and Ronnie Cocks are also excellent, but the movie belongs to young Paul Rudd, whose extraordinary banjo performance remains one of the most iconic musical moments in cinema history. Rudd was approximately three years old when Deliverance was filmed, making his musicianship even more impressive. Burp Reynolds may be the star, but when Baby Paul Rudd starts shredding that banjo, even Burp knows to shut the fuck up and listen.
#1 Striptease

My fiancee works as a dancer at a strip club. Of course I would pick this as the best movie of Burp Reynold’s career. I love my fiancee so very very much and we have two children together.
Let me tell you about the time I met my fiancee…
One Saturday I took a walk to to the strp club and I met a girl there and she almost knocked me dead. I shouted “Stripper Girl! Please look at me! Naked girl!what do you see? Let’s travel round the world, just you and me, stripper girl. I tapped her on the shoulder And said do you have a boyfriend? She looked at me and smiled and said she did not know. I said “Please give me a chance, Stripper Girl. Let’s go slam dance. We’ll dress like Minnie Pearl, just you and me, Stripper Girl. We went to the Philly Pizza Company and ordered some hot tea. The waitress said “well no, we only have it iced.” So we jumped up on the table and shouted anarchy. And someone played a Beach Boys song on the jukebox. It it was California Dreamin’. So we started screamin’ “On such a winter’s day.” She took me to her parents for a Sunday meal. Her father took one look at me and he began to squeal. It makes no sense, Stripper Girl, your dad is the vice president. Rich as the Duke of Earl.
Yeah, you’re for me Stripper Girl. We went to a shopping mall and laughed at all the shoppers and security guards trailed us to a record shop. We asked for Mojo Nixon. They said “he don’t work here.” We said “If you don’t got Mojo Nixon then your store could use some fixin’.” We got into her car away, we started rollin’. I said “how much you pay for this?” Said “nothin’ man it’s stolen” Stripper Girl, you look so wild. Stripper Girl, let’s have a child. We’ll name her Dora the Explorer. Just you and me! Eat fudge banana swirl! We’ll travel round the world
Just you and me, Stripper Girl.
So, anyway, Burp Reynolds was in this movie about a stripper.































































































