How reassuring to know that, even at the age of 60, Donnie Yen is still churning out blood-spurting bonkers Chinese beat-em-ups like this movie, particularly at a time when he can glide easily between leading contemporary Hong Kong action projects (Enter the Fat Dragon, Raging Fire) and scene-stealing turns in huge Hollywood franchises (Rogue One, John Wick Chapter 4). Sakra sees Yen return to the director’s chair for the first time since 2004’s Black Rose Academy. A lot has changed in the last 20 years, and it shows. Yen’s confidence as a leading man is now just as apparent behind the camera, creating a gorgeous wuxia romance which – although not nearly as good as the best of his wuxia films (see 2011’s Dragon) – still has enough spirit and fervour to evoke memories of his earlier work, particularly during the fight scenes. Longtime collaborator Kenji Tanigaki still seems to be working through his Rurouni Kenshin phase, borrowing the series’ hyperkinetic swordplay and combining it with powerful qigong moves that sees bodies thrown hither and thither. There is also added fireballs and poisoned darts, and crude CGI and wire-fu battles that often look shonky. Based on the 1960s wuxia novel, Demi-Gods and Semi-Devils – already adapted for the screen in three previous attempts, including Shaw Brothers’ The Battle Wizard, and numerous TV versions – there’s a typically chaotic nature to the storytelling which, like many wuxia productions, quickly becomes incomprehensible. Set in 11th century China, Yen plays Qiao Feng, the powerful leader of the Beggar’s Gang. He’s supposedly meant to be 30 years old, proving how – even with a five o’clock shadow – Donnie Yen remains the only actor who can convincingly play younger characters the older he gets. Qiao Feng is cast out of the gang when he is accused of killing another member. He is also framed for the death of his foster parents and his Shaolin temple sifu, so he runs off to clear his name, only to fall in love with another runaway, the face-swapping thief Azhu (Chen Yuqi). Neither Azhu or Qiao Feng are fully aware of their own origin stories, which is when the film bifurcates into separate narrative threads: one exploring Qiao Feng’s connection to the Khitan people, sworn enemies of the Songs; and another in which Azhu’s complex family history is explored, featuring a nice supporting role for fan favourite Kara Hui playing her mother. There’s also a cameo for Yuen Cheung-yan as the Beggar’s Gangs’ doctor, now finally looking the older age he always played in Yuen clan movies in the 1980s. Yen has positioned Sakra as a wuxia alternative to the Marvel Cinematic Universe, with its many characters and supernatural elements. The source material might contain enough elements to fuel a franchise, but whether this first outing is strong enough to support an entire series isn’t immediately obvious. Donnie Yen’s easy charm and ageless ability is enough to sustain interest, but the story lacks focus, and for all its crazy spectacle, it struggles to pack an emotional punch.