Director Sam Wong has tried to pack too much into Suspect, and the result is an incoherent mess. Playing a detective with unusual powers, Nick Cheung endures some frankly stupid set pieces.
Martial arts film icon and the 2024 Hong Kong Film Awards’ Lifetime Achievement Award recipient Sammo Hung talks about his movies, stars like Donnie Yen, Bruce Lee and Jackie Chan – and eating.
The same five titles dominate the nominations in all major categories of the Hong Kong Film Awards 2024. Post film editor Edmund Lee predicts the winners and reflects on who or what actually should win.
Writer and director Sasha Chuk stars in her debut film Fly Me to the Moon, which follows a young immigrant from mainland China as she struggles to live life in Hong Kong.
The big mystery about this suspense drama is how a film with such a promising scenario – a star-crossed romance, identity swap and cold-blooded murder – can turn out so dull, nonsensical and awful.
A heist movie that looks like it was dreamed up by a five-year-old, We 12, starring all the members of Cantopop boy band Mirror, is witless, lifeless and above all dull. For true fans only.
The meaning of home and family when one is kept apart from them by a pandemic is a big theme of Tsang Tsui-shan’s film about once-a-decade festivities in rural Hong Kong for which emigrants cannot return.
We Are Family, Hong Kong comic Eric Tsang’s film about rent-a-families, starts off as a farcical showbiz satire before taking viewers on an emotional roller coaster, and ends as a poignant tear-jerker.
A charismatic Chung Suet-ying stars in coming-of-age comedy The Lyricist Wannabe as a woman who tries – and continually fails – to become a Cantopop songwriter.
Comedy sequel Table for Six 2, The Moon Thieves – a heist thriller starring Mirror boy band idols – and darkly comic Aaron Kwok crime caper Rob N Roll: the Post film editor’s views of Lunar New Year releases.
In Rob N Roll, Lam Ka-tung and Richie Jen play two middle-aged losers who get caught up in the fall-out from an armed robbery led by Aaron Kwok’s former pro wrestler. It’s well acted, but convoluted.
Table for Six 2, the sequel to the Hong Kong Lunar New Year comedy sensation, is a satisfyingly chaotic ensemble comedy with Louis Cheung and Stephy Tang that explores family and romantic relationships.
This year’s Hong Kong Film Awards are completely dominated by the same five front runners, although one – In Broad Daylight – stands out from the pack with 16 nominations.
Mirror’s Anson Lo, Keung To and Edan Lui star in a by-the-numbers crime thriller about a Tokyo watch heist that entertains with slick visuals and charismatic performances by all but one of the main cast.
The latest instalment in the most inept crime thriller series in Hong Kong cinema in the past 10 years, Crypto Storm, with its young, good-looking cast, is watchable if you forget how farcical its story is.
In Hong Kong director Patrick Kong’s latest romance movie, Mandy Tam plays a young woman who falls for Edward Chen’s rich young man. The story starts off passably, but deteriorates at the end.
Director Kelvin Shum’s debut film, Deliverance, while atmospheric and visually striking, is undone by its highly unrealistic screenplay – we might give this one a miss.
Directed by Soi Cheang, Mad Fate has been voted the best Hong Kong film of 2023 in the latest Hong Kong Film Critics Society Awards, with Wu Kang-ren and Jennifer Yu winning acting prizes.
Drive My Car director Ryusuke Hamaguchi’s latest film, and a Korean historical epic, lead the field in the 17th Asian Film Awards. Two Hong Kong films each have nominations in three categories.
Andy Lau’s drug lord in crime thriller I Did It My Way comes off as unreasonable to the point of being comic, and confusing writing and a superficial depiction of Asia’s dark web only add to the farce.
We rank the 37 Hong Kong films that were released locally in 2023, from greats like A Guilty Conscience – the city’s highest-grossing local film ever – and Lost Love to stinkers like Prison Flowers.
Infernal Affairs co-stars Tony Leung Chiu-wai and Andy Lau play a con man and an ICAC investigator, respectively, in The Goldfinger, based on Hong Kong’s real-life 1980s Carrian property empire scandal.
Nick Cheung, William Chan and Isabella Leong star in Bursting Point, Dante Lam’s first Hong Kong crime thriller in years and one packed with enough violence to warrant an adults-only rating.
Featuring stand-out performances from Michelle Wai and Elaine Jin, Ready or Rot is a pleasant and touching romantic drama that is a vast improvement on its prequel, 2021’s Ready or Knot.
Ann Hui’s Elegies, a documentary about Hong Kong’s contemporary poetry scene, focuses on interviews with Hong Kong poets Huang Canran and Liu Waitong – and obliquely touches on the city’s ‘situation’.
Starring Wallace Chung, Francis Ng and Eddie Cheung, Chinese crime thriller Death Stranding, the latest film from Hong Kong’s Danny Pang, is a dull and illogical tale of corruption and revenge.
Hong Kong’s First Feature Film Initiative was founded in 2013 to spot new directing talent and help fund their first features. We look at the performance of the 13 films funded in the FFFI’s first 10 years.
Hong Kong family drama Time Still Turns the Pages, by writer-director Nick Cheuk, uses student suicides as the cue for a poignant tale of emotional torture, regret and redemption.
Cantopop star Michael Cheung’s first feature film is a madcap comedy about mortuary thieves, vengeful gang members and a supernatural live stream. Poorly written, it wastes a good set-up.
Based on a true story, In Broad Daylight follows a journalist, played by Jennifer Yu, who works undercover at a Hong Kong care home for the disabled to expose abuse and mistreatment.
