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Yes, The Medallion is the second movie in less than year in which an inanimate object gives Jackie Chan superhuman powers, but it’s considerably less threadbare than The Tuxedo. Although most of the story is set in Ireland and many of the featured co-stars are British, this is the most Hong Kong-ish Chan vehicle released in the United States in several years. Introduced sharing octopus with a dog in a Kowloon night market, Chan essentially plays his character from the Police Story series, a supercompetent, globe-trotting HKPD detective with a rueful grin. The film was directed by Hong Kong veteran Gordon Chan, who’s probably best known outside Asia for Beast Cop, and the action—too much of it digitally tricked-up—was choreographed by Chan’s longtime pal Sammo Hung. (The script is credited to five people, including the director and Bey Logan, a British HK-cinema buff who wrote a book on the subject.) The Medallion is less gag-oriented than Chan’s made-for-U.S.A. work, although certainly not devoid of cheap yuks. Many of those are the responsibility of British comedian Lee Evans, who plays Interpol agent Watson. He and Eddie Yang (Chan) bicker during their failed attempt to prevent pedestrian supervillain Snakehead (Julian Sands) from stealing a medallion—and the young “chosen one” who knows how it works—from a Buddhist temple. Watson is not happy to see Eddie when the latter arrives in Dublin to apprehend Snakehead and rescue Jai (Alexander Bao), the boy who can use the medallion to restore life to the dead, giving the revivified invulnerability in the process. But another Dublin-based Interpolee just happens to be Eddie’s ex, Nicole (Claire Forlani), and the two become lovers again as they crack the case. It’s no shock when Eddie is pronounced dead, only to be reborn as a superman—what’s clever is that the cop, although now unkillable, still feels pain. You can’t rub him out, but you can bash him up real good—which is an apt metaphor for Chan’s career as a much-bruised but unstoppable stuntman-star. —Mark Jenkins