Enter the second decade of 21th century; Stephen Chow’s new movie Journey to the West: Conquering the Demons has won more than two hundred million dollars box-office, which became the second best-sold film in Chinese film history. Stephen Chow and his comedy style once again became the focus that media and people pay attention to. Stephen Chow, this name may be not that familiar to western audiences. However, as a comedian, Chow began as an extra for the television station. He became quite well known for his movie The Final Combat (1989). After this, he initiated his “Mo Lei Tau” comedy style. He created more than 30 comedian characters in 1990’s Hong Kong film and became Hong Kong's undisputed No. 1 comedian. As a director, his “Mo Lei Tau” comedy style became more meaningful and serious. His films again and again refresh the box-office. Time magazine once said he is the hero of Asian, because his films not only rescued Hong Kong film market in 1990’s but also reflected part of Asian culture in that period. This research is focus on his comedy style, especially “Mo Lei Tau” style and its influence. “Mo Lei Tau” is a Cantonese term that may be loosely translated as “with no source”, but is generally used to mean “makes no sense”. Regarded as an integral part of Hong Kong's popular culture, it is considered by some as being unique and untranslatable. Compared to Wacky Comedy film for a Western cousin, “Mo Lei Tau” movies have a greater attention on puns and other Cantonese word tricks1. " Mo Lei Tau" is not just funny, the funny thing actually implies a profound cultural connotations. Through the odd funny "Mo Lei Tau" way of expression, his films convey his profound thinking of modern circumstance. As for “Mo Lei Tau” comedy, which is characterized by a “nobody” protagonist, happy ending, golden straight men, post-modernism and serious topics, etc. In this research, three Stephen Chow’s classical movies will be used to analysis its style. A Chinese Odyssey (1995), King of Comedy (1999) and Kong Fu Hustle (2004) are three representative works. In these three films, “Mo Lei Tau” style’s characteristics are distinct and remembered by all audiences. A “Nobody” Protagonist Almost each Stephen Chow’s movie has a “nobody” protagonist. The roles Stephen Chow plays