This expensively rendered, eye-searingly bright animated feature from China rests on a truly weird premise. Tom and Jerry, the cartoon foes of yore, are chasing each other around a museum in present-day New York City when they are supernaturally transported, thanks to a magic compass doodah, to a quasi-medieval China where humans mix freely with gods and cryptozoological animals including phoenixes, gargoyles and talking rats. Which, admittedly, isn’t a massive conceptual leap from Tom and Jerry’s usual imaginary world, where a cat and a mouse can be endlessly regenerated after being flattened, sliced, diced or blown up according to comedy needs. Nevertheless, there’s some serious cognitive dissonance going on here; this is a mix-and-match mashup of mythologies that fans of the original T&J shorts, written and directed by William Hanna and Joseph Barbera in the 1940s and 50s, may find disturbing. Welcome to the future, where IP can be infinitely remixed provided you have enough lawyers or material whose copyright has expired.

So Tom and Jerry fall out of the sky in this brave new world, and the local residents of Golden City assume at first they must be gods, and Tom at least isn’t in any rush to disabuse them of this notion. Partly it’s because his newfound fame has helped catch the attention of Jade (voiced in the English dub by Janice Kawaye), a white-furred, blue-eyed opera cat in a red cheongsam dress. For some reason, Jade can both sing and talk, while Tom is mute in the traditional manner – apart from the tiny devil and angel that appear on his shoulders occasionally, just to add a little Judeo-Christian iconography to the mix. Otherwise, the vast amount of talking is done by two opposed characters, the Phoenix Master (Matthew Yang King), a supernatural humanoid trickster who’s been looking for the compass thingy for 300 years, and his arch-enemy Mega-Rat (AJ Beckles), an embittered creature who attempts to trick fellow rodent Jerry into joining forces with him. There are a bunch of other wisecracking, often bickering, pastel-coloured creatures but they’re eminently forgettable unless you are the sort of person who collects plastic figurines from McDonald’s Happy Meals.

Ultimately, this iteration of Tom and Jerry owes more to Kung Fu Panda and its orientalist coevals from the contemporary animated feature slop machine, and has none of the relentless inventiveness and pleasing amorality of the originals. Instead, we get lots of didactic lessons wrapped in candy-coated visuals about community and collectivist philosophy, eased down with a lot of frenetic action. The character design varies hugely in quality, from the lumpen phoenix doofus (“Feeney”) who is coded male but poos out magic eggs, to the more elegantly conceived Jade. The climax is all airborne dragons and fireworks; the fact it makes little sense doesn’t matter because it’s all about sensationalism, stimulating the amygdala with bright colours and noise to the point of overload.