(And I mean that in all seriousness; I could see why someone wouldn't enjoy Peking Opera Blues, but if they called it bad because of those qualities I could argue forever on how they were flat-out wrong to do so. It's goofy, wacky, low-budget and jumps between tonal extremes without warning, but it's also smart, funny, brilliantly choreographed and edited, and Tsui Hark plainly knows exactly what he's doing - every single one of those tonal shifts sees him totally committed to making it work, not just throwing slapstick in for the lulz or drama for cheap shocks or whatever. I don't think Fong Sai Yuk clears that same bar but I seriously think the same point can be made - it can seem jarring to foreign sensibilities but it's plainly not just throwing everything at the wall to see what sticks.)
Anyhow. I appreciate what CTHD managed to do: it's still a mediocre film that's entirely style over substance which was praised for things it didn't remotely accomplish by people who plainly didn't know what they were talking about, and I've seen nothing in the fourteen years since to make me seriously reconsider my stance.