Bo-Bo (Man Tat Ng) owns an old, run-down apartment building in Hong Kong. He also serves as a chef for the area. A large, commercial company is looking to buy he property and demolish it for their own construction. One of the people living in the building is put, partially by himself, into a dangerous position, but Bo-Bo’s uncle, Tang Tai Chi (Yuen Biao), saves him in an amazing display of his talent. Tang Tai-Chi, who is also a chef, decides to stay and help his nephew with the cooking. Meanwhile, Lim Feng (Leon Lai) leaves his home and is told by his father never to return. After being beaten by a group of men, the people from the apartment building all eagerly nurse him back to health. He, too, stays to help with the cooking. When a freak falling shoe (I won’t even try to explain, you have to see it for yourself) makes Bo-Bo unable to cook for a large reception, Tai-Chi steps up. Yuen Biao uses his amazing physical skills in his cooking, and these sequences are truly unforgettable. His talents make the small restaurant a success, and soon a corporation wants him to travel around the world. Bo-Bo, jealous of his ability and feeling hurt after opening his home to Tai-Chi, strongly disapproves. He, like Feng’s father, threatens that if Tai-Chi leaves, he will not be able to return. As things in the film grow more tense, Feng grows into a romance with Bo-Bo’s daughter and discovers that it is his father that plans to tear down the building. This all leads to an ‘explosive’ ending.

Many people describe Ronny Yu’s style as Capra-esque, and while the comparison is not completely unfounded, it is inaccurate. Yu is very in touch with the HK style of humor, and very little is subtle in this film. Like Capra, it is a small character driven story, but unlike Capra everything is big, loud, and fast (excepting the pace). In the mot general sense, though, Yu and Capra do have a lot in common. They both encompass the ‘feel’ of their respective nations. Yu is best known for the superior The Bride with White Hair.

Regretfully, the acting in this film brings it down. To have a great character driven film, you have to have talented people portraying those characters. Yuen Biao is a martial artist, not an actor, but his part is small and he does a great job of it. Somewhat ironically, his performance is one of the best. Man Tat Ng does a decent job, but it is not as polished as in Shaolin Soccer. Leon Lai is also acceptable, but Maggie Siu, who plays Man Tat Ng's daughter and Lai's Love interest, has some painfully bad moments. Overall, the acting is slightly less than average, but in a film of this type acting needs to be among the films strongest parts to make it succeed.

Despite its problems, this is definitely a film any fan of Hong Kong comedy should see. There are a few moments of comedy that anyone can understand and laugh at, but it is packed full of HK comedy. If you understand and, as I do, love that kind of humor, you will be left with a good taste in your mouth. The scenes of cooking are unforgettable, and they are a nice change from Biao’s beautifully elaborate fights. It’s even nice to “live happily ever after” every once in a while.

REVIEW:
I bought this film fearing quite a bit. After all, despite having Yuen Biao, the greatest Hong Kong actor/martial artist ever, could he really star in a film with no martial arts scenes at all? (not even one kick). Well how wrong could I be?! One thing I must mention though is an absolutely incredible stunt Yuen Biao does at the beginning of the movie. It has to be seen to be believed.

Director Ronnie Yu (a brilliant Capra-esque director, also one of the best directors in the world, but largely underrated), who directed this before directing the acclaimed "The Bride with White Hair," delivered here an enjoyable, moving and highly underrated gem which has been virtually all but forgotten. Yuen Biao is credited in the starring role, despite the film focusing more on Leon Lai. Ng Man-Tat is the kind-hearted owner of an apartment and restaurant in a poor deprived area of Hong Kong. Yuen Biao plays his uncle (also a cook) and Leon Lai a rich kid who runs away and finds the family atmosphere of the neighborhood much more appealing.

Yu has an eye for direction much like American director, Frank Capra. Yu highlights issues such as the importance of family over money. Ronnie Yu also draws incredible performances from the cast, especially Yuen Biao and Ng Man-Tat. However, one minor quibble of the movie [spoiler] is that the third section of the movie suffers due to Yuen Biao's absence. Despite the fact he turns up about 5 minutes from the end. He is actually absent again at the end of the movie which was very disappointing, but to be fair, the end credits focus on Yuen Biao's character.

This film was released in Hong Kong, at the beginning of 1992 when the Hong Kong public watch New Year's movies highlighting mostly Chinese New Year etc. Since the film's storyline is about cooking, it immediately appealed to the Hong Kong public and deservedly so.

In a day and age of high tech and big budget movies such as the absolutely awful "Pearl Harbor," this film is a breath of fresh air. This is a wonderful, warm-hearted and touching gem of a Lunar New Year movie, highlighted by the utterly incredible scenes of Yuen Biao preparing meals as only he can.