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Missbehavior
恭喜八婆

Format(s) Available
DIGITAL
Opening Date
31 Jan 2019
Rating
M18 Some Mature Content
内容只宜十八岁及以上
Runtime
90 mins
Language
Mandarin with English & Chinese subtitles
Genre
Comedy
Director
Pang Ho-cheung
Cast
Isabella Leong, Dada Chan, Gigi Leung, Miriam Yeung, Patrick Tse, June Lam
Synopsis
A hilarious story revolving around a group of once-very close friends who reconnect over a lost bottle of breast milk. 
Reviews
By Say Peng  29 Jan 2019
Strictly for fans of Pang Ho-cheung's low-brow and slapstick humour.
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Multi-hyphenated Hong Kong writer-actor-director Pang Ho-cheung has always been interested in the lowbrow mix of sex, romance, and comedy. His new comedy, ‘Missbehaviour’, will no doubt satisfy his fanbase with his usual formula.

The film stars an all-female ensemble cast comprising some of Hong Kong’s biggest as well as upcoming stars such as Gigi Leung (‘The Monkey King’, ‘Aberdeen’), Miriam Yeung (‘The Shopaholics’, ‘Love in the Buff’), Isabel Chan (‘Love in the Buff’), June Lam (‘Love Off the Cuff’), Isabella Leong (‘Spider Lilies’), model-actress Dada Chan (‘Z Storm’), and singer-dancer Yanki Din.

Lam plays an office assistant who had mistakenly taken a bottle of breast milk belonging to her irascible boss (Leong) to make a cup of coffee. Fearful of losing her job, she enlists the help of her long-time girl friends to try to find breast milk to replace the one she accidentally used. Lam first approaches Leung’s character, a tough policewoman, who takes over the rein to secure breast milk while Lam returns to work.

The entire movie is essentially a carnival show of the ridiculous and hilarious things that Leung and her madcap friends will go to to secure a bottle of human breast milk. The comedic skits range from the farcical to the slapstick to the scatological. There is nothing lowbrow enough for director Pang, who also makes a mischievous cameo appearance in the film.

One gets the feeling that the film is some kind of a get-together high school project made by the most popular kids in school and their goal is merely to scrap by and get a pass simply for making something. The narrative is episodic and patchy as if Pang made a list of his favourite skits and stuck them together chronologically without concern for thematic unity or coherence.

With all that said, those who buy tickets to watch Pang’s films know exactly what they are signing up for and Pang knows what his fans want: a bunch of good-looking actresses not taking themselves seriously and having fun doing riotous things to get some laughs. In that sense, Pang delivers.
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