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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.
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.
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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.
A genre film par excellence, Terry Ng’s film about three mid-level gangsters who land in big trouble is well enough acted. If you like gangster movies, you will love The Unwavering Brotherhood.
Tse, who also directs the action, plays a customs officer who intercepts a boatload of weapons and single-handedly stops their terrorist owners grabbing them back in Herman Yau’s highly implausible film.
A teenage student cramming for Hong Kong’s university entrance exam joins YouTuber Hui Yin, who is resitting it at 30 to put right his past failures, in documentary Once Upon a Time in HKDSE.
Lau Ching-wan plays a police hostage negotiator framed for murder and Francis Ng an ex-colleague in Herman Yau’s pale remake of Hollywood movie The Negotiator.
Christopher Sun’s film has the trappings of a social realist drama, but in fact is a well constructed mystery. Not without its flaws, it is a welcome addition to the Hong Kong film canon.
A migrant from China to Hong Kong (Raymond Lam) winds up in the Kowloon Walled City, where he befriends mobsters, in Soi Cheang’s lavishly funded yet edgy film, a spectacle let down by its storytelling.
Starring Patra Au, Tai Bo and Leung Chung-hang, director Ray Yeung’s LGBTQ drama All Shall Be Well sees an elderly Hong Kong lesbian at risk of losing everything after her partner suddenly dies.
Donna Ong’s documentary examines cinema and Hong Kong history from the 1950s onwards through the eyes of a titan of the cultural scene. Fascinating and packed with archive material, it is narrated by Law.
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.
