Plot is of pretty much no importance here unless writer Titus Ho (who directed Red Spell Spells Red, a movie that didn't need a script) thinks a theme written, no matter quality, will create a sweeping dramatic tale. However there's so little explored and what little actually is, still feels unexplored in the end, all with Robert Mak's (Martial Club) Chang at center. Acting like a stiff board whether in moping, naive, ignorant or cocky mode, this character is green and often takes wrong turns through his own choices and of course due to the society atmos around him. Struggling to support his family that has a pretty vile mother at center that will literally abandon you if greener pastures are ahead, the choice is the street but the central, more grounded choice, seems to be Chang's gig as an apprentice at a bike repair shop where he's under the guidance of Master Cai (co-director Danny Lee). Although assured and occasionally warm in the acting department, Lee can't co-steer this quite common but crucial plot point into something finalized as the student betrays and deceives without an emotional backlash that makes sense.

Directors Lee and Nam may take the camera to the gritty street but One Way Only still can't come alive and even if it could, it's buried under too much elements featured but not developed. See the original poster that seems to promise something light or ANYTHING featuring Robert Mak and newcomer Tai Liang-Chun. Nope, this never goes anywhere and although the cap of their story develops Chang's easily surfaced bitterness, all's still painfully ignored. Yes, the flick is screaming to the extent that obviously it becomes a social commentary where the balance has to be struck by the police whether to punish biker punks or be constructive in leading them out of trouble. But not even Wan Chi-Keung's traffic cop that has a personal grudge towards them punks seems to matter in the whole scheme of things. Yes, a resemblance of trying to close the circle can be evident during the poor finale (also in terms of continuity) but not for a second is it convincing dramatically or logically.

Parental issues, gang rivalry whether it's on the racing track or when flirting with criminal activity, One Way Only does have it all but it is brainstorming ideas thought of as well-honed dramatic instinct and that makes the entire package sink. Strangely enough directors Danny Lee and Nam Nai-Choi leave us with quite an excellent little final sequence that leaves the viewer to interpret the whereabouts in the development these racing youths are at but is it part of a belief by the directing duo that just by featuring it, you're super-great? At often times in all other scenes it feels like it but it's in reality clueless handling by new filmmakers. They would find their voice and place in different genres often but One Way Only isn't required viewing just to see what signs are here. Because there are none.