Firstly, there's a young schoolgirl, still too short to actually comfortably cook a meal at the stove, boasting of a street-wise cynicism well beyond her age, as she talks like an adult when confronting foul-mouthed hawkers and advising others on placing wagers on football matches; then there is the pre-adolescent boy who fails to react at all to his friend's lewd remarks about his mother and his sister.Both are pointers to future lives to be lived without principles, prologues to an even more scary and heartless generation to come.The difference between using these applications and traditional texting is that content is transmitted over the Internet or a data plan, allowing anyone with Internet access to participate.Kik and Whats App appeal to teens because of the anonymity of the applications.
Its operator Tencent should be relieved: the app was actually depicted as quite useful and easy to navigate.) While a marker of a new generation's psyche, the app also serves to differentiate them from their elders – that is, the two stars Wan and Peter Mak, the former who could only know what her daughter thinks by listening to her messages, and the latter (playing the bloated, crippled has-been which his past persona has grown up to become) fumbling his way into learning to use it.
Such nuances, however, also come hand in hand with the eye for the urban backdrop which could help reveal the mental landscape of the characters.
The wide range of settings – from Yan's cold-chic white apartment, to the ominous tenements or back-alley staircases in which Wai-wai and his boyfriend wander around – certainly provides the film with a distinct geographical mark, thanks to not just Yung and his screenwriter Lou Shiu-wah but also cinematographer Shi Yue and art designer Janice Chan.
15 percent of these teens also claimed to have received sexually explicit photos.
This suggests a consent issue of people receiving photos without asking for them.
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.