The contrived story line suffers in part because we've seen it done too many time before and a whole lot better. A lonely hitman(Nick Cheung Kar-fai) learns about life and love as he finds himself falling for the possible girlfriend (Lam Ho-yee) of a victim he recently put six feet under. There subsequent relationship throughout the film is a cliche ridden metaphor for the state HK find's itself in, post-handover. Cheung is slowly going blind-as I would imagine, could be troublesome in the bullet for hire biz-and his new chippie, Lam, has some incurable disease that forces her to spasm uncontrollably on the floor, eyes crossed. Pathos is supposedly sought from her condition, but your more inclined to cry with tears of laughter at these awfully overacted scenes. Throughout the entire length, she overacts horribly and is truly annoying.

Something about her character(probably her 11-year old shenanigans) leads me to believe that she is mentally retarded. When she speaks, the fast-forward button begins to look good. But wait there's more. Her lips are perpetually lubricated throughout the entire film, as if they produced their own vaseline. You feel the need to hand her a napkin to wipe her mouth. Eventually, looking at her moist lips became nauseating, as if I weren't already feeling uneasy watching this cheesy knock-off. Other characters dart in and out of the film, used to develop the main characters background. That's their only purpose. Among these wasted performances is a cameo by Sherming Yiu Lok-Yi as a prostitute.

I guess if your going to rip off, or pay 'homage' to a filmmaker, who better than Wong Kar-wai, Right? The problem is that almost all HK films post Chungking Express, seem to 'borrow' WKW's style. You eventually become weary of it's constant use in sub-par films, you hope something original will come along. Not here. This overstylized, overwrought, replica begins to wear out it's welcome almost immediately. The style packaged is all pretense and the characters tiresome. Plus, the camera is everywhere. It illicits every possible angle known to filmmaking kind. The edits are full of smashes, jumps, and swishes, and the film comes of smarmy, vein, and over the top, not hip and cool as I believe it was intended. All together, including Lam Ho-yee's damn lubbed up lips, at films end you'll probably drop to the ground in a fit of overacted convulsions, cross-eyed, dazed and confused. I did.

The contrived story line suffers in part because we've seen it done too many time before and a whole lot better. A lonely hitman(Nick Cheung Kar-fai) learns about life and love as he finds himself falling for the possible girlfriend (Lam Ho-yee) of a victim he recently put six feet under. There subsequent relationship throughout the film is a cliche ridden metaphor for the state HK find's itself in, post-handover. Cheung is slowly going blind-as I would imagine, could be troublesome in the bullet for hire biz-and his new chippie, Lam, has some incurable disease that forces her to spasm uncontrollably on the floor, eyes crossed. Pathos is supposedly sought from her condition, but your more inclined to cry with tears of laughter at these awfully overacted scenes. Throughout the entire length, she overacts horribly and is truly annoying.

Something about her character(probably her 11-year old shenanigans) leads me to believe that she is mentally retarded. When she speaks, the fast-forward button begins to look good. But wait there's more. Her lips are perpetually lubricated throughout the entire film, as if they produced their own vaseline. You feel the need to hand her a napkin to wipe her mouth. Eventually, looking at her moist lips became nauseating, as if I weren't already feeling uneasy watching this cheesy knock-off. Other characters dart in and out of the film, used to develop the main characters background. That's their only purpose. Among these wasted performances is a cameo by Sherming Yiu Lok-Yi as a prostitute.

I guess if your going to rip off, or pay 'homage' to a filmmaker, who better than Wong Kar-wai, Right? The problem is that almost all HK films post Chungking Express, seem to 'borrow' WKW's style. You eventually become weary of it's constant use in sub-par films, you hope something original will come along. Not here. This overstylized, overwrought, replica begins to wear out it's welcome almost immediately. The style packaged is all pretense and the characters tiresome. Plus, the camera is everywhere. It illicits every possible angle known to filmmaking kind. The edits are full of smashes, jumps, and swishes, and the film comes of smarmy, vein, and over the top, not hip and cool as I believe it was intended. All together, including Lam Ho-yee's damn lubbed up lips, at films end you'll probably drop to the ground in a fit of overacted convulsions, cross-eyed, dazed and confused. I did.