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But these two pre-adolescents were just thrown into the mix on the side.
The main dishes here – and spicy ones they are too – are three late teenage girls flirting with ruin like there's no tomorrow.
One of the things that made Hong Kong cinema of the 1980s such a powerhouse was that there were so many talented people cranking out films in a market dominated by genre sensibilities.
Directors like Tsui Hark, John Woo, and Ann Hui, to name but a few, employed some charismatic actors, dazzling technique and an anything goes mentality to create a daring genre cinema.
Firstly, there's a young schoolgirl, still too short to actually comfortably cook a meal at the stove, boasting of a street-wise cynicism well beyond her age, as she talks like an adult when confronting foul-mouthed hawkers and advising others on placing wagers on football matches; then there is the pre-adolescent boy who fails to react at all to his friend's lewd remarks about his mother and his sister.
Both are pointers to future lives to be lived without principles, prologues to an even more scary and heartless generation to come.
The film rapidly introduces its characters and sporting a mauve wig, Wai Ying quickly hooks up with a much older ‘john’ and is out of her clothes and having sex in the shower before the film has been running eight minutes or the opening credits have unfurled.
But it's also one that generates some exasperation as well: while relentless in its graphic depiction of the amoral universe as inhabited by its three teenage female protagonists -- a welcome approach which gives voice to the much-obscured anger and angst of the city's marginalized youth – Philip Yung's second feature also constantly falls back on affected aesthetics (such as a recurrent musical leitmotif on piano or the use of slow-motion and sepia-tinged flashbacks) and forced exposition in order to provide some rhyme or reason to the manic and eventually murderous mayhem.
Like many efforts from the grindhouse end of genre, this film seems to take pleasure in the very things it claims to be warning its audience against.
wastes no time in giving the (male) punters what they want in low budget exploitation fare.
There is some ambiguity about the motivation of Yan’s prostitution-dabbling, social media friends, poor girl, Wai Wai (Heidi Lee) and mute Wai Ying (Rainky Wai).
However, while the reward money is a serious lure, the girls also know the types of risks Yan has been exposed to as they have been taking exactly the same risks – and more.
Such nuances, however, also come hand in hand with the eye for the urban backdrop which could help reveal the mental landscape of the characters.