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Edmund Lee
Film Editor
Edmund Lee is the film editor of the Post. Before joining the Culture desk in 2013, he was the arts and culture editor of Time Out Hong Kong. Since he graduated in English and Comparative Literature, Edmund has also studied law and written an MPhil thesis on Hirokazu Koreeda. He is on a masochistic mission to review every Hong Kong film being released.
The highest grossing Hong Kong film ever returns with 12 minutes of extra scenes that add some comedy, but do they warrant a re-release?
Andy Lau cameo can’t save Cheung’s film starring himself, Fala Chen and Terrance Lau that is heavy on style but lacks convincing backstories.
A self-financed autobiographical story, this film about a wife’s devotion to a love-cheat ex-husband is melodramatic and ill-judged.
A family and their dessert shop are turned upside down by illness in a film that chooses nostalgia over substance.
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Chung Suet-ying delivers a powerful performance in Adam Wong’s The Way We Talk, which explores identity and deaf culture with great humanity.
Is it a sci-fi suspense thriller? A nonsense comedy? A family melodrama? Hong Kong-Malaysia co-production’s script so weak it’s hard to say.
Sultans of sexism deliver a torrent of tasteless trash interspersed with shows of skill at the mahjong table. Decent human beings beware.
Albert Mak is back with bittersweet tale of a high-flyer, a washed-up actress and a failing gym boss forced to rethink their purpose in life.
A man with an aversion to gamblers marries a gambling addict in Andy Lo’s comedy. The writer-director shows a gift for nonsensical humour.
Director Soi Cheang Pou-soi scores third win in four years for martial arts drama set in Kowloon Walled City; Papa wins two major awards.
Philip Keung and Fish Liew star in Keian Chui’s directorial debut that indulges the audience with memories of Hong Kong cinema.
Both movies are up for best picture at the 18th Asian Film Awards, as are All We Imagine as Light, Black Dog and Teki Cometh.
Jerry Lamb, Jason Chu, Jordan Chan and Michael Tse reunite in Wilson Chin’s posthumous final film that is just as bad as his others.
From We 12 to Papa, Fly Me to the Moon and The Last Dance, our ranking of the Hong Kong films that hit cinemas in the course of the year.
The Prosecutor offers great action from Donnie Yen but with its simplistic representation of justice, don’t expect a hard-hitting drama.
Natalie Hsu, helped by Ekin Cheng and Mirror’s Ian Chan, shines in this Hong Kong healing drama about memories, regret and lost love.
A live streamer steals a mobile phone that serves as an instrument of revenge for a ghost she befriends. Intriguing, but don’t expect scares.
Lau’s character experiences a maelstrom of emotions after his son kills his wife and daughter in Philip Yung’s sublime human drama.
Get ready for a corny but wholesome story about a cantankerous old man whose bond with a dog opens a door to more new connections.
Cantopop star Marf Yau gives a charismatic performance in a dubious coming-of-age tale of two teenaged girls who sell their underwear online.
Comic actors excel in purely dramatic roles, but Michelle Wai steals the show in an engrossing film that champions female empowerment.
Implausible? Yes. A flimsy set-up? Also true – but this mega-budget film starring Andy Lau, Bai Yu and Karen Mok is immersive and engaging.
Starring Philip Keung, Yeung Wai-lun and Candy Wong of girl group Collar, Possession Street is a grim and claustrophobic experience.
Martial arts clichés, clumsy storytelling and terrible fight scenes all add up to a fantasy that is less than fantastic.
Hong Kong superstar Andy Lau’s reputation takes another nosedive in High Forces, a ridiculous Chinese production from director Oxide Pang.
Dead Talents Society leads nominations for Taipei-based awards with 11 nods; Sylvia Chang and 3 Hong Kong stars vie for best actress prize.
Veteran action choreographer Tung Wai plays washed-up action director Lee Sam, who returns for one last film collaboration.
Happiness director Andy Lo delivers an emotional, endearing and bittersweet family drama set in Hong Kong during the Covid-19 pandemic.
Ng plays an emotionally stunted doctor who falls prey to an online dating scam in a film with a profound message hidden beneath its comedy.
