Wong Kar-wai's eye-straining stylistic experiment in the bulging effects of wide-angle lenses. A worthy followup to his Chungking Express, sharing with it the structure of interwoven plotlines, the subject matter of yearning youth, and the attitude of cutesy insouciance. In short, it's lesser Wong, as compared, let's say, to Days of Being Wild or Happy Together. Still, it has its moments, and not a few. Like the throwaway bit when a butcher-shop employee amuses himself after hours by giving a back-rub to a skinned porker. Or like the nothing-happening scene, of pop-song duration, of the sullen femme fatale basking in the pink-and-yellow glow of a jukebox: a sensuous survey of the curve of her jaw, the drape of her hair, the slouch of her shoulders, the sheen of her dress. Leon Lai, Michele Reis, Takeshi Kaneshiro, Charlie Young. (1995) — Duncan Shepherd
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