A chocolate treasure-box of a movie: full of unexpected, varied, delightful treats. It's like watching 5 or 6 movies, artfully compressed and assembled into one brilliant package. Leo Koo, low-level cop, meets Charlie Yeung, low-level call girl. And what starts off as apparently light police comedy picks up steam, gathering speed and weight and emotional impact as it rolls through melodrama, swordplay, wacky farce, gun-ballet, domestic comedy, and heroic action. Director Patrick Leung's usual flair for visual poetry and off-beat rhythm are there, but so is a new care for his actors (a generosity that gives them space, room to stretch), a screenplay rich with opportunity, and a freedom for formal experimentation. His film outflanks cliches, defies genres: it's a rare movie that becomes less and less predictable the closer it gets to its end. A fine ensemble cast: Leo Koo's range is impressive as a sensitive introvert who has lost his bearings. Charlie Yeung's gung-ho electric performance is fun to watch, and at the same time quite touching, as she suggests the hurt and loneliness lying beneath her compulsively dishonest persona. Fine supporting work by So Chi-wai (who creates an intense portrait of a minor triad figure), Allan Moo Chi, Karen Mok (photogenic, as usual, but under-utilized, dramatically), and a typically hammy Eric Tsang.