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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.is possibly one of the most energetic, explosive and, well, expletive-laden films to come out of Hong Kong this year.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.

While the cussing, bullying and outright acts of physical harm are all the more unnerving, two of the film's most disconcerting scenes actually involve what appears to be just some meanness and mischief from elementary-age children.

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Positioned explicitly as a 21st century take of the 1983 film – Johnny Mak's juvenile-delinquent drama cuts a marked presence here, with Yung interweaving his film with grainy clips from that perennially relevant classic and even recruiting that film's two leads to play older versions of their characters -- actually proffers a less fatalist view for what lies ahead.

It's a world where, when push comes to shove, hoodlums could (and would) count on the police to save the day, and when the characters' unruly days would be just a painful chapter in their rite of passage for a more secure and better adulthood.

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