Three actors, four stories, no continuity.
How could they do this?!?
What were they thinking?!?
It starts well, at least enough to dull suspicion. Devoted aide (Yeung) secretly in love with playboy boss (Lau). Cantankerous, writers-blocked father (Hui) who hasn’t written a book in ten years. Assorted minor characters of a humorous bent. Then it all goes to hell, complete with handbasket. Or, in the case of Hui, complete with sword and straw veiled hat.
About every twenty minutes, the story, and associated mood, changes. One minute we’re wondering how devoted aide will cope with playboy boss dossing in her house while his burned-out apartment is repaired. Then, suddenly, cranky dad becomes playboy-in-training, hosting wild, girl-filled parties and neglecting his long-time girlfriend. Then, suddenly again, cranky dad returns to threatening to kill playboy boss, who’s now reformed his wicked ways and is making cow eyes at devoted aide. Then all change, yet again.
As if it’s not bad enough having to keep pace with the drastic changes in the characters, the stories bring along their own mood. From manic comedy, Michael Hui making a very convincing show of wanting to kill playboy Lau Ching Wan, we’re dropped suddenly into sickly romantic comedy. The sort of romantic comedy where the lovebirds hold hands and skip around. Possibly even singing. Gack. I had to lick the carpet to get the taste out of my mouth.
It’s even more insulting when you consider that all three lead actors are competent professionals (and yes, I do include Miriam). Michael Hui, in particular, is responsible for changing the face of Hong Kong comedy with his witty, fast-paced, urban films, and just doesn’t deserve to be trapped in a film that will only reinforce the image of current Hong Kong rom-coms as crap to be avoided.