This time travelling machine is Chan’s detailed and affectionate piece of work, it beams me back to childhood days with a mature perspective.
Chan is obsessed on delivering an engaging story. And when I say obsessed, I mean he has crafted every scene, every frame of the film as a compelling and challenging sequence to reel you in. And boy does it work. Against all odds, all fumbles, all the absurdity and the cliched element of the script, the film stays at the tip of its feet convincing you to be at that very same posture, totally thrilled and enthusiastic about a regular case of an oh-so-non regular cop. But this super cop is never revealing his intentions or the trick of what makes him so absorbing and empathetic towards us.
For it’s not that he is a good guy or particularly a bad one. His three dimensional character is what holds up against time, for a film so advanced in the mid ’80s, it feels refreshing to know that we are in safe hands, and that guy (Jackie Chan) is the lead actor of the film along with being a writer and director. And for someone who often writes his part, as in the choreography of the action sequences which has always been him figuring out how much and where he can push himself, he knows what and where to flaunt his dancing and comic skills and where to work on simply the merit of the storyline.
Also I’d like to mention the amazingly crisp editing that makes the action look clean for the most part of the film. The loud and cheesy background score that goes for the cheap shot works surprisingly in its favour, especially when the jokes are lost in Chan’s innocent eyes and his body that writhes from pain and rage which elevates the mediocre part of the film into a nail biting gritty Police Story.