There are moments of greatness in the first half—thirty cans of expired pineapple, the final shot before the story transitions—but the second half is really where this shines. I am in my heart simply a bitch who loves a romcom, and this has such a joy in its depiction of the everyday along with a tremendous amount of emotional nuance, beyond just the leads and into the background characters with only one or two lines, the line cook singing into his carrot... this is a film to refuel one's heart.

Jean-Pierre Jeunet and Paul Haggis both stole from this. The missed connections fueling the naivety of the characters is cat nip for romantics, but the candid filmmaking wrenches you back into the humid, bustling world of humanity. I love it.  

Less sweet is the harrowing migrant worker stuff to the point I suspect it’s how the film justifies the two cops, repetition be damned. At first I figured it’s because Wong see’s their careers as socially transient by definition, but like, no more than the women of the film. Everyone is needed in a dozen places at once and it’s only by breaking convention can they hope to care for each other, let alone meet. Cute but never treacly.