In fact, this multi-line narrative story is actually full of surprises. In fact, multi-line narratives are not necessarily so-called "high IQ movies" - in fact, the content of the movie is not very complicated. Ku Juji summed it up in one sentence at the end: A group of robbers pretending to be policemen encountered Another group of robbers pretended to be policemen, and the robbers pretending to be policemen couldn't stand the behavior of another group of robbers pretending to be policemen, so they worked with the police to deal with the robbers pretending to be policemen. In short Six words: Pretending to be a policeman can also hit a bridge. However, as the saying goes, sometimes whether a story is good or not depends on the storyteller - without a good script, a movie with perfect gimmicks can also be made into a pot of mush (such as "Now You See Me"), and Multi-line narrative is a touchstone to test the skills of a director. The clues are clear and logical. The explosive points are timely. You can refer to "Two Smoking Barrels" and "Crazy Stone". On the contrary, if you miss any of the above points, it will be as unclear as "Little Reunion". It's still light, so it's not impossible to turn it into "Breathless". ?

Clarity of ideas is a major factor in the success of this film. In the first half of the film, the appearance of the characters and the foreshadowing of the plan are all about style, whether it is the character's killer appearance or the various meanings that are frequently exported. The famous lines (such as the overturned Louis Ku's sentence "The world can be seen from a different angle" and the cold joke that Leo Ku and Ng Zhenyu are one step ahead of the audience such as No. 36933) or the coquettish moves of Johnnie To's movies from time to time are all now streamlined. Even the highlights that are difficult to see in the kitsch theaters, of course, for the sake of grounding, the Sherlock-like subtitles and on-site analysis can also make passers-by look at it. The turning point of the movie begins when Wu Zhenyu and his gang rescue the kidnapped ice cream, and it begins to serve the story attentively. Basically, it shows Wu Zhenyu's perspective, the perspective of the villain who is always hung up on, and the entanglement of whether he should wear his underwear outside like Superman. (There is no) Ku Juji’s perspective and the rescued ice cream girl’s perspective to complete the various conflicts in the second half. Although some places are too sensational and cliché, they still work hard to make the audience nervous and laugh, rather than using Internet jokes or celebrities selling their flesh are used to deceive the audience's attention, and all the seemingly inadvertent foreshadowings are resolved in the end (such as the connection between Ku Juji's car theft and the absconding evil manager, etc.).