The hands-down winner of the year’s most cloying title, My Heart Will Go On has a surprisingly accurate moniker. Sadly, it only serves to hinder this hugely average flick from Mandarin Films. It’s a standard potboiler about a hired killer and a woman - with a heart transplant thrown in. 

Nicky Wu is Leo (gag!), an aimless hitman who’s soulful because he’s played by a little Sky King. He has heart disease so he’s due to bite it rather soon. When he wants out of the biz, his evil boss and henchman (Ma Tak-Chung) aim to take him out. Caught in the crossfire is a nice guy cop BB (Lawrence Ng) who’s due to be married to a florist named Maggie (Ada Choi). BB’s heart gets donated and wouldn’t you know it, it ends up in Leo’s chest cavity. The bad guys still want him dead, but he possesses a vial of deadly poison gas that they’ll all kill for. If that wasn’t enough, Leo’s heart starts doing strange things to him. He begins to take on parts of BB’s personality, and soon he’s led to Maggie. 

This mixture of Heart Condition and The Killer has a reasonably far-fetched but watchable plot that’s all but submarined by various parties. The title stinks in its origins, as we can only think about a big sinking boat. Worse, the film has terrible production values, starting with poor cinematography and an atrocious synthesized music score. It’s also directed like complete crap until the second half, where the film improves by 800%. That’s mostly due to the always welcome Ada Choi, but Raymond Wong and co. can only salvage a total mess. 

This is watchable, but still total crap without enough abandon to vault it into classic trash status. The action and actors are all B-quality, and some are even lower on the alphabet. The evil bad guy is an absolute riot, as he gets to laugh maniacally a total of three times in the first 12 minutes of the film. Nicky Wu is his usual plastic self. The lone bright spot is Ada Choi, who has a range of emotions that far eclipses most of her contemporaries. Still, her usual bag is to be better than the material, and that’s certainly the case here. (Kozo 1999)