I think, like many Westerners, my first introduction to Jackie Chan was "Rumble In The Bronx". I was impressed enough to start backtracking through his film history where the REAL Jackie Chan treasures lie: his early comedy brotherhood with Hung and Liu, action-adventures like "Armor Of God", and spy-actioners like "Who Am I?". Through all of them, the unique mental gymnastics that drives his physical gymnastics could be seen developing along very similar lines to Charlie Chaplin, ever-more refined. But one aspect of his films remained the same: his awkwardness with women, whether they were antagonists or love interests or colleagues. In Michelle Yeoh (Khan), and in "Supercop", he takes full advantage of the awkwardness for the first time, dealing with a character who is at first his superior and becomes his partner, an equal in every way. Her sense of timing, movement, and even comedy mirrors his. In that sense, "Supercop" rose to new levels-- and budget-- to become one of Chan's finest films.