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The movie, like its predecessor (Part I), perpetuates the nostalgia of the past with a new focus on McDull's father. The story is told under a non-linear narrative that moves forth and back and links up dimensions of no spatial relations. As a feature of the series, the dialogues of the characters are full of a unique HK style syntax. The signifiers carry a huge amount of referential codes on local current affairs and the Hong Kong culture, bestowing on itself a strong localism of HK (including but not limited to mottos in the Cantonese dialect and simulated visuals of HK's landmarks). Yet the movie comes with super-reality that transcends the plots beyond the realm.

Although it is an animated movie, mid-aged adults will find it more entertaining than youngsters or children do because of its connotations that require a fairly deep appreciation and understanding of the local culture. The series is always able to purvey satisfaction to both the children and the adults. The former enjoy the cutie visuals at the denotative level of image (and acoustic) reception whereas the latter appreciate the connotative level of the decipherment (and nostalgic review as well) of Hong Kong's entrenched culture.

註：本評論純屬影評作者個人意見，並不代表本網立場。
Note: This views presented in this review is solely the views of the critic who wrote it and do not represent the stance of our website.

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