Metascore
38

Generally unfavorable reviews - based on 30 Critics

Critic score distribution:
  1. Positive: 4 out of 30
  2. Negative: 12 out of 30
  1. 0
    One of the Peking Opera-trained superstar's most mediocre films, rivaling last year’s God-awful "The Tuxedo" for sheer messy filmmaking and brazen acts of tedium... Abysmal.
  2. Reviewed by: Roger Moore
    38
    The supernatural stuff is ho-hum, the dubbing is sloppy and the action will only make you pine for the younger, hungrier and more injury-prone Jackie.
  3. 25
    Moves from cheekiness to ineptitude, often in a single take.
  4. It's the cheapest looking, least exciting, least funny Chan project I've ever seen.
  5. 30
    This is a complete mess, making up its story logic as it goes along, though in contrast to the sluggish "Shanghai Knights" its chief problem is having too many ideas instead of too few.
  6. 75
    A disposable entertainment, redeemed by silliness, exaggeration, and Chan's skill and charm. I would not want to see it twice, but I liked seeing it once.
  7. A magic-meets-macho cop movie that's more gimmick than actual movie.
  8. It's a likable enough smorgasbord, from its trendy Irish locations to Andy Summers turning in a Beatles cover to occasional giggles and gasps.
  9. The Medallion makes you long for Tucker -- and for Jackie Chan to fly without digital wings.
  10. 50
    While the premise does lead to a few moments of inspired physical comedy -- the movie repeatedly falls back on poorly staged, choppily edited fight scenes between Chan and a gloomy, power-mad villain.
  11. Chan defies time and gravity with remarkable energy, ease and resourcefulness, not to mention charm and humor. He even gets away with a nude scene, not bad for man who turns 50 in April.
  12. 38
    The formulaic movie would be forgettable but inoffensive if it were anyone else posing for blue screen CGI effects.
  13. Evans fumbles through painfully extended homophobic jokes, weak double entendres and agonizingly contorted double-takes.
  14. 38
    Given the complete lack of chemistry between Chan and Forlani, their rather awkward lip-lock isn't worth $10 to see. Sadly, neither is anything else here.
  15. Chan's signature mix of screwball comedy and gymnastic derring-do landed him his own cartoon series a few years back, and The Medallion -- with its bumbling spies and bounding star -- is about as cartoonish as live action gets.
  16. 42
    Not that Chan isn't lovable; he is. But he's making it harder to feel warm and fuzzy about him with films like The Medallion. It's OK to age, but Chan needs to broaden his horizons. He is a trained singer. Where's that musical he's always dreamed of making?
  17. 50
    Since the stunts are sub-par and feature considerable computer help, the movie gives the impression that it's trying too hard to be campy and silly.
  18. 40
    There are five writers credited with the script for The Medallion, and between them they don't come up with a single original or amusing or clever idea.
  19. The best of Jackie Chan's American movies, a pleasant little action comedy that makes one wonder how other filmmakers could ever get it wrong.
  20. So full of limp slapstick silliness and stock characters that it's hard to stay awake through it.
  21. 50
    Though haphazardly put together, The Medallion stays fairly entertaining until it kills Chan off and resurrects him as an immortal being.
  22. As for the old and graceful Jackie, he's completely missing in action, his supple talents sacrificed on the high altar of movie technology -- that frenetic place where superheroes are a colossal bore and real ones are sadly impotent.
  23. 60
    As soon as the medallion appears, so do the digital maneuverings -- speeded-up movement, composite images, objects and people morphing into supernatural thingamajigs -- that undercut the genuine thrills of the genuine action.
  24. Reviewed by: Sabrina Rojas Weiss
    40
    Once the action degenerates, the film relies on Chan's charming smile and Evans's mediocre slapstick for relief, making one wish the medallion's special powers could transport them into whole other story.
  25. Longer on action than comedy. But with Chan's affable charm and stunning leaps, kicks and jumps, it's a good-natured and amusing spectacle.
  26. Reviewed by: Dennis Harvey
    30
    At times plays as if it were aimed at children, but more often simply seems to be aiming blind at whatever genre cliche the five credited writers fix upon in any given scene.
  27. Reviewed by: Ben Kenigsberg
    40
    This outing, Jackie doesn't bring much humor or personality to his role, which is essentially the same one he played in the Rush Hour movies.
  28. Mr. Chan proves yet again that he has the virtuosic grace -- and goofiness -- of any of the great clowns of the silent era, and a complete refusal to abide by the laws of gravity. Do let us be clear, however, that the movie's plot, minus a few roundhouse kicks, is straight out of the Scooby-Doo playbook.
  29. Reviewed by: Matt Bonesteel
    40
    Chan's normally homegrown stuntwork is replaced by a lot of wire fighting and special effects, and this makes one think that the days of "Drunken Master" are far behind him.
  30. 30
    So cheesy and cheap that it almost attains high camp.
User Score
5.4

Mixed or average reviews- based on 21 Ratings

User score distribution:
  1. Positive: 1 out of 8
  2. Negative: 5 out of 8
  1. Sep 4, 2013
    4
    This review contains spoilers, click full review link to view. From the start, you know what page you should be on in Jackie Chan vehicle The Medallion. It exists to entertain, not to make any kind of bold spiritual or meaningful statement, even if the plot is grounded in a delightful magical hokum, which may or may not be inspired by certain elements of Chinese mysticism, which I’m sure it takes many liberties with.

    Still, in this kind of film, a MacGuffin is required to get the plot moving. The titular Medallion is thousands of years old, and grants the holder a host of powers, including strength, speed and immortality. Naturally, some unscrupulous individuals are bound to want to get their hands on this wondrous item, and indeed they do, making off with both it and its child guardian Jai, who has been chosen by the fates as the only one who can activate the Medallion, by binding its two halves.

    Who’s on hand to stop this selfish abuse of ancient power? Hong Kong police officer Eddie Yang, (Jackie Chan). Chan plays his usual role as the dogged nice guy, battling against all the odds, and a seemingly never-ending stream of enemy goons, with only his skill at martial arts to protect him. As ever, it’s impossible to dislike Chan, and you end up along for the ride, and rooting for him every time.

    Lee Evans appears as Arthur Watson, a somewhat incompetent Interpol agent who is partnered with Jackie and becomes his comic foil. Throughout Jackie Chan’s extensive filmography, he has been paired with numerous partners, especially in his Hollywood productions that have tended to exploit the “buddy cop” dynamic to its full potential. Lee Evans, for example, is not Owen Wilson, who performs admirably alongside Chan in Shanghai Noon (2000) and its sequel.

    Claire Forlani’s character, another agent by the name of Nicole, is an old flame of Eddie/Jackie’s. Regrettably, she is not particularly engaging and there is little chemistry between her and Jackie to give credence to their previous relationship. She seems to fill the obligatory role of the love interest to accompany the primary duo into the finale, but I would have preferred to see this role filled by Charlotte Watson (Christy Chung), Arthur’s wife, who appears during a fight in the Watson household, revealing herself to be an agent too. Pre-dating Mr. & Mrs. Smith by two years, neither Arthur nor Charlotte have filled each other in on their true professions, but when her family is threatened, Charlotte springs into action. For some reason, nothing is made of this after the scene, and the character does not appear again.

    Those who grew up watching the animated series Jackie Chan Adventures might enjoy a nostalgia trip when they recognise a familiar sounding villain in the form of Julian Sands, who proves that the stereotype of the well-spoken British villain is still very much alive in his role as the borderline psychotic crime lord known as “Snakehead”. At times, this film can feel like a live action imagining of the aforementioned series, where Sands played Jackie’s nemesis, a similar villain with a penchant for the theft of mystical items.

    Gordon Chan directs, as an experienced figure in Hong Kong cinema who has worked with Jackie Chan before. Gordon Chan’s other notable works include remakes of Bruce Lee’s Fist of Fury (1972): Fist of Legend (1994), starring Jet Li, and Legend of the Fist (2010). As ever, the real star is not the plot or characterisation, but the fight scenes with Jackie, who is well known for performing all of his own stunts, to the point that nobody would insure him. Typically, the director is happy to let Jackie do his thing, whilst the soundtrack plays some pop rock with a groovy bass line. During the finale, Forlani’s fight with her female counterpart in Snakehead’s organisation is set to a rocking blues guitar solo.

    In a film about a medallion that gives supernatural powers, the most entertaining fights are the most realistic. These are the ones where Jackie fights a number of thugs in an industrial location. Once in the sewers beneath the streets of Hong Kong, and twice on container ships, in Dublin and Victoria Harbour. Once the characters inevitably become juiced up on the medallion’s powers, the fights seem somehow less impressive. Whilst events become visually more extreme, and the stakes are technically higher, what with the fate of the world hanging in the balance, conflicts between these newly immortal warriors lack the tension of a fierce urban punch-up.

    This film, while an hour and a half of entertaining absurdity, does not deserve further analysis, nor does it ask for it. Jackie Chan saves this film, simply by doing what he does best. But it is by no means his best work.
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