The plot is divided into three parts. The first and most interesting promises to be a behind-the-scenes look at a stunt company. We follow Michelle's rise from stunt extra to action director, under the tutelage of, and then with growing independence from Samo Hung (who plays essentially himself). This story could and should occupy an entire film, but it moves too quickly to chapter two, wherein Michelle falls for Ken-doll "Sam", a good-looking, rich yet shallow businessman. It's painful to watch Michelle Yeoh, deflated, playing a fancy-coiffed club hostess and male adornment, until she figures out the obvious. What feeble narrative energy remaining is completely expended in chapter three. A wild, aimless kidnapping plot brings Yeoh and a tough but adorable kid (Ah Long) together. Three parts of a woman's life: professional, girlfriend, mother-figure. A trite idea that may have been intended to serve Michelle Yeoh's career by reshaping her star persona. But she is much larger than the feeble scaffold erected around her. Yeoh's most interesting roles have been variously and creatively gendered. But Ah Kam denies Yeoh's breadth. It attempts to squish her into a redefined and conventionalized all-around woman: professional/lover/nurturer. But this only manages to undermine the basis of her charisma. Still, it's no small compliment to acknowledge that Yeoh emerges from this film with her dignity and star power (if not her body) pretty much unscathed.