In the Hong Kong movie world, Wong Kar Wai is infamous for working without (much of) a script.  However, it is the industry's comedies -- notably those which feature Stephen Chow (as a director as well as actor) -- that tend to feel to me like they were being made up and cobbled together in the most impromptu of ways.  This is in large part because they sometimes do seek to bring together as well as draw upon so many disparate elements (In the case of this particular film, they include:  Culinary practices, innovations and competitions; turf battles; street brawls; Shaolin monks and kungfu; and divine interventions) in an apparent all-out, frenetic bid to induce mirth on the part of their audience.  One not uncommon result of this is a definite unevenness of tone within a single film.  Another is the upping of the "hit" or "miss"  quality, quotient and effect (so that one either likes the product or just is too befuddled -- not just frustrated or disappointed -- by it to generally appreciate it).

This is not to say that there's no detectable basic plot line to be found.  For example, GOD OF COOKERY's story could be somewhat easily summed up in terms of:  A master chef (played by Stephen Chow) being too big for his boots; getting his comeuppance; finding salvation in humble surroundings and with the help of a woman (Chow may be its center of attention but Karen Mok is the emotional heart of this film); and returning to reclaim his place in the culinary pantheon.  Where the surprises and delights lie though is in how he gets from point to point, and what happens, on his effective journey of learning and discovery about himself, other people, what (and who) ought to be cherished and eschewed in life.