Most of the pleasure in Green Dragons comes simply from the opportunity to watch some underused actors dig into meatier parts than they’re usually offered.

Fredric Dannen's reportage, which appeared in a 1992 issue of the New Yorker and serves as the film's basis, contains lurid details that leap off the page in a cinematic way. The "Dragons" script by Michael Di Jiacomo and co-director Andrew Loo preserves many, but few register on-screen.

What initially feels like brash energy peters out until what’s left mainly evokes pretty ordinary gangster movies.

In the end the taste of H.K. filmmaking dominates in the film's deliberately chaotic visual style, a circular narrative that heads nowhere, and lyrical song interludes that abruptly interrupt the non-stop action and camera movement.

Green Dragons wants to be spaghetti with marinara, but it's closer to egg noodles and ketchup.