Cinema can recreate the experience of a chase or dangerous encounter. Although there’s imagination to be found, more often than not entertainment proves to be the sturdiest foundation. Therefore, I came up with the word Cinescaping, and this best defines The Great Wall.

A brief escape from reality, I could relax into the mood of The Great Wall with relative ease. Next to the bloated melodrama behind Kingdom of Heaven, Zhang Yimou’s tiny epic felt like soothing peacetime. Also, Matt Damon brings his constant professionalism to the front gate as William.

He and Tovar (Pedro Pascal) seek the “black powder,” a substance that can destroy armies. Yet they discover something else: the Great Wall of China heavily defended by the Nameless Order. Against what? See the film.

Firstly, it’s important to recognise costume designer Mayes C. Rubeo, who previously worked on Apocalypto, John Carter and Warcraft: The Beginning. She explores colour meticulously. Even the outfits worn by the Nameless Order include stunning qualities of blue, purple and red.

Amazingly, The Great Wall worked in every capacity for me. I didn’t expect quite this level of screen craft. Not that there’s a need to feel biased or otherwise towards Matt Damon. He’s a superb Oscar-winning talent whether acting on screen or writing the words and directions.

Equally, I was impressed by the subtle shades of sentiment in Tian Jing’s performance. Behind her eyes lurks a soul that has glimpsed many things. The measure of grief, happiness, bravery and flamboyance proves boundless. As Commander Lin Mae, she deftly defines the decisions made by those in power as well as the human cost involved.

To my delight, composer Ramin Djawadi has broken out with the mega score of his career. Those ethnic drums, choirs and evocative themes represent a mere tithe of the unseen treasures to behold.

(Released by Universal Pictures and rated "PG-13" for sequences of fantasy action violence.)