A really fantastic lark. The heist setup is familiar, the low budget apparent, yet Ning Hao overcomes this through unashamed gusto, presenting urban China in all its wild, contemporary unloveliness. Scene for scene, the level of inventiveness this delivers is astounding, from the ribaldry of the sight gags (a greasy womaniser is attacked with a toilet plunger) to the dialect-heavy, witty asides, even the creativity of the camera angles. The appeal of the plot is that it allows us to watch an extensive cast of sharply-drawn characters collide verbally and physically with each other – literally so, in the elaborately conceived and impeccably constructed climax. It’s the film that crystallised Ning Hao’s blackly comic style, and the obvious template for all the ‘bro comedies’ to come out of China since. I realise that sounds like a heavily qualified endorsement in 2020, but this is clearly the apex of that form, creatively and as craft.