It sounds like one, but Jump! Ashin is based on a true story so, uh, there has to be truth here. The known facts: director Lin Yu-Hsien is the real Ashin's younger brother, and Lin Yu-Shin did quit gymnastics, run with a gang, see bad things and finally return to the gymnastics floor. However, did the real-life Ashin really witness a murder? Did he really use his gymnastics skills to kick ass in entertaining Jackie Chan-like ways? Did he really receive help from shady characters to return to the gymnastics floor? Jump! Ashin plays with facts to tell its inspirational tale but the parts that are likely manufactured stick out conspicuously. Ashin's tale moves too quickly, from his rural home to the mean streets of Taipei and back, and features too much convenience and too many far-fetched plot devices. Consistency is an issue, as the film jumps from light to dark and back again while still retaining a nostalgic, affectionate and presumably realistic tone. On the surface it may work, but further examination reveals numerous cracks.

Luckily, the film is very well acted. Eddie Peng has the right physicality for Ashin, and he certainly worked to achieve it. The actor honed his body to convincing athletic form, with the added bonus being that his sculpted bod will delight a certain portion of the audience. At the same time, his performance is emotionally grounded, and he's got screen charisma to spare. Peng balances quirky likability with heartthrob appeal, and continues to affirm his potential star status. As his pal Pickles, Lawrence Ko turns in the film's strongest performance, and creates a pathetic and also honorable character with convincing emotion. Other supporting performances are entertaining if not accomplished. Zaizai Lin possesses a fine sincerity as the likely manufactured love interest; she plays a call center operator who supports Ashin anonymously – a character that's narratively likable but also completely unbelievable.

It's these difficult-to-buy parts that mar Jump! Ashin. The film comes with the weight of a “true story,” so losing credibility hurts more than if this were a purely fiction film. However, if one looks past the screenwriting shortcuts, odd narrative jumps and obvious commercialism, there is still much to like. The film's inspirational spirit remains strong, and the platitudes and conveniences are easier to swallow when the actors sell them with such conviction and sincerity. Also, the film’s early nineties period is entertainingly recreated, and the film’s largely rural setting evokes a genial warmth. The script may have narrative problems, but the direction is solid; Lin Yu-Hsien avoids the ham-handed or pretentious when doling out the drama, and even though the dialogue is sometimes on the nose, it's usually uttered at the right time and by the right actors. More discerning or cynical audiences could find Jump! Ashin to be too easy, too pat and too damn nice. But for the majority, Jump! Ashin's earnest and recognizable emotions should easily please. (Kozo, reviewed at the Hong Kong Asian Film Festival, 2011)