With screenplays this inept being made into high-profile movies, I have to wonder if the "flying paper" approach to plotting is really such a negative alternative. Although the film chugs along agreeably enough for most of its running time, it utterly fails to arouse any emotion other than disgust, and contains a few massive blunders. The relationship between Teresa Mo and Eric Tsang is perhaps the most glaring; it should've either been its own movie, been tied more closely to the central story, or simply been dropped. Instead, it's about twenty minutes of amusing padding; quite a lot of wasted time for a film that runs under 100 minutes.

No, I spoke too soon; the biggest weak link in this movie full of weak links is, unfortunately, the central relationship. It simply doesn't make any sense. The various adverserial episodes are mildly entertaining, but there's virtually no indication of any kind of romantic spark between the two. The screenwriter and director don't seem to be able to decide who the main character is; Kelly Chen seems to be the protagonist for most of the movie,
but an inexplicable shift at the end turns Aaron Kwok into the lead as he pines for Kelly. (Spoiler, but no shock whatsoever) A less conventional ending might've made for a less unpleasant aftertaste, but instead, we're lead to believe that a song (a very, very bad English song, at that)will make Kelly break off her engagement and emigration plans to be with Aaron, despite the fact that there seems to have been no attraction between them previously. Add few moments of incredibly heavy-handed but basically meaningless symbolism and you have a film that, while being watchable enough, can only, in the final analysis, be regarded with contempt.