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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.It's a mix which will play well to a younger Hong Kong demographic seeking, all at once, visual thrills and some kind of narrative closure, but the film – which premiered at last month's Hong Kong Asian Film Festival, and is now being shown on press rounds to position its place for a February release and then the Hong Kong Film Awards in April – also represents a missed opportunity for Yung to advance this misbehaving-teens subgenre by showing how this problem is never going to neatly fade away, and that it's as cyclical as the long line of films about the issue being produced by Hong Kong filmmakers since the 1960s with Patrick Lung'sdoesn't hint, at least slightly, on this.

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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.

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.

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