The storyline is a quite openly a clothesline to hang Jackie Chan action sequences on. Those action sequences rule though; they’re jammed with inventive choreography and whimsical flourishes, and one has Jackie versus Donnie Yen, which is extra fun. I could watch Jackie mess with bumbling bobbies in a revolving door for hours; I could watch him pay homage to Gene Kelly and Harold Lloyd for days. (I also appreciate how Chan and company turned the entire film into an homage to clichéd movies tropes made new again through Chan’s physicality, like the fireplace that spins when you activate the hidden switch, revealing a secret room.)

Plus: Aidan Gillen with one curly bang and the most ridiculous bad guy costumes this side of Jupiter Ascending! Kid actor Aaron Taylor-Johnson as streetwise orphan — who turns out to be Charlie Chaplin! An establishing shot where a horse-drawn carriage pulls up to an English castle lined with dozens of torches while ominous music plays! Donnie Yen doing Donnie Yen things! Surprisingly enjoyable. Also, I would like to see an adaptation of Roy O’Bannon Versus the Mummy.