It all depends on what you want to shoot and what your budget is.
I have a Graflex Speed Graphic that is smallish, rugged, and fairly light in weight (for a 4x5). It's movements are limited, but it has enough movements for landscape work, which is where I use it. It works well with any lens from 90mm to 210mm, which is about 28mm-65mm equivalent in 35mm film. You can go up to 300mm, but you'll lose the ability to focus closely. However, I have a 360mm telephoto lens that works fine, even for close ups due to its telephoto design. I also have a 65mm lens for extreme wide angles, but with that lens, you don't get much movements. That's not usually an issue though, because with a lens that wide, you usually don't need movements. It also has a focal plane shutter, which is useful for barrel lenses like my Petzval and some homemade lenses.
I also have a Sinar F1. It's great for portraits, still life's, and architecture. It has tons of movements and isn't crazy heavy, but it's not worth hiking with or taking on a plane. I will use it in situations where I only have to walk a mile or so from the car. No large format camera is going to be light or portable compared to a 35mm. The film holders, heavy duty tripod, light meter and dark cloth alone make the setup bulky enough without taking into account lenses on lens boards and the camera itself. Large format isn't about portability or speed. It's about quality and taking your time. And a monorail is about the most professional version of a large format camera out there. It's almost ridiculous that they're so cheap these days, but product photography and portraiture is rarely done anymore with film, so they don't command the prices they once did. Hence why field cameras still cost a pretty penny.
I don't own, but know several people who enjoy their Intrepid field cameras. They have pretty good movements, are fairly cheap, and pretty light in weight. The downside is they're not that sturdy or well built. They're good enough to last you several years and see if you want to dive further into the format though. But you won't be passing them down to your grandkids. If you go this route, all of your lenses and accessories will still work on your next camera (minus perhaps lens boards), so it's not like you're throwing a bunch of money away.
Those are the three popular recommendations, and chosen so for good reasons. They're cheap enough to get you started and good enough to get the job done. They all have drawbacks, which is why they're cheap to begin with. So you'll just have to figure out which drawbacks you can live with. Keep in mind, that the camera is just the tip of the iceberg when it comes to expenses. You might be best off finding someone selling a whole kit, that way you don't get nickel and dimes to death with all of the little things that add up.