At the point when the first "From Vegas to Macau" (2014) appeared with its burst of kickass chopsocky, stunts and smart jokes, it looked as though Wong may recover the interest of his "Divine force of Gambler" and "Conman" establishments, whose festival of good fortune, hazard taking and respect among criminals made for healthy Lunar New Year idealism. Tragically, the 2015 continuation moved its area and activity to Thailand, degenerating into a touristy wild-goose pursue stuffed with silly shoot-them ups. Like a snake gnawing its own tail, Wong loots his own particular thoughts in "From Vegas to Macau III," notwithstanding walking back stars from his more seasoned betting escapades to go up against similar personas: Chow Yun-fat, who played the amnesiac legend Ko Chun in "Lord of Gamblers," now endures a spellbinding incited honest relapse as arrangement hero Ken Shek. At the point when that is insufficient to cushion out the procedures, the film just tosses in tune and-move schedules, brimming with immaterial references to the on-screen characters' past film and TV exhibitions.
"From Vegas to Macau II" finished with cardsharp Ken's long lasting sweetheart adversary, Molly (Carina Lau), skydiving sans parachute from her private stream. She now gives off an impression of being caught inside some kind of laser bubble — oblivious, bare and unpleasantly artificially glamorized — while her admirer, frantic researcher JC (Jacky Cheung) vapor about making Ken pay. Over in Macau, Ken is occupied with having an emergency over the wedding of his little girl Rainbow (Kimmy Tong) to his godson Vincent (Shawn Yue). To enable him to wake up, his companion Mark (Nick Cheung) entrances him into speculation Vincent is wedding his fat cousin. Things turn out badly when Michael (Andy Lau), the follower of Ko Chun, turns up as a sudden visitor.
Ken and Mark wind up in jail, a helpful scene for them to play a card amusement utilizing cigarettes as chips (so in fact, it's not betting), but rather are then suddenly safeguarded and take asylum in Michael's home in Singapore. Michael's extensive cushion, whose open design looks suspiciously like a sound stage, fills in as a financially savvy area for a long extend, while a gaggle of characters drop in and out to convey faltering muffles. These range from a somewhat aggravating demo of wonky weapons by an ammunition master (Law Kar-ying), to a criminally juvenile cake-tossing match. Two sentimental circular segments unfurl — one between Ken's R2-D2 doppelganger robot, Stupido, and Michael's femme-bot, Skinny; the other a triangle including Michael, Ko's more youthful sister Aunt-Aunt (territory pop icon Li Yuchun) and Mark. It's difficult to state which one is more mechanical and bone chilling.
At the point when JC at long last lands to correct vengeance, he draws Ken and Co. into the hazardous bloodsport of … table tennis. By this point, groups of onlookers must be thinking about whether any betting is consistently going to happen. It does, however as a "philanthropy" mahjong, dice and poker occasion at a Thai island resort. A large group of cameos are jogged out, including Psy of "Gangnam Style" notoriety, yet everything highlights essentially none of the deceiving traps that were the sine qua non of the "Lord of Gamblers" and "Conman" establishments. The setup has another raison d'etre: to give item arrangement to the online card amusement APP, forcibly feeding groups of onlookers indecently long closeups of the stock and organization logo.
Since the Lunar New Year is prime time for family seeing, "From Vegas to Macau III" likewise attaches a robot standoff to keep tykes glad. To call this scene a "Transformers" farce is acknowledge it for a great deal excessively keenness and reason, shot as it is with dime-store props and zero style.
With a storyline that zooms from one far-fetched plot point and pretend area to another, the characters unavoidably progress toward becoming pawns. With a nary a rib-tickling or snarky line to convey, the A-rundown stars obediently mug for the camera, however neglect to locate any emotional outlet for their colossal scope of performing styles. Indeed, even Chow's blustery courage looks constrained and spent.
Tech credits, civility of an accomplished Hong Kong team, are tried and sufficiently true. Be that as it may, neither the on-the-ball lensing by Lau and Cho Man-keung, nor the easily paced altering by Azrael Chung, can cover the jerry-fabricated sets and blemish instigating CGI. As in the past two portions, Vegas never gets a look in, and Macau is highlighted just as an occasion resort instead of the gambling club center point it's well known for.