The Sunny Side of the Street <白日青春> marks the directorial debut of Malaysian-born (Muar, Johor) and Hong Kong-based Lau Kok-Rui. The drama made a splash at the 59th Golden Horse Awards in 2022 with four wins and 41st Hong Kong Film Awards earlier this year with Sahal Zaman taking home the Best New Performer award.
Continue reading The Sunny Side of the Street 白日青春 (2022) Review
Here’s the Hong Kong Category III film that famously breaks the Hong Kong box-office record for the restrictive-rated movie previously set by 2011’s 3D Sex and Zen: Extreme Ecstasy <3D肉蒲團之極樂寶鑑> with over HK$42 million. And that is not all as The Sparring Partner <正義迴廊> even scored a whopping 16 nominations for the upcoming 41st Hong Kong Film Awards.
Continue reading The Sparring Partner 正義迴廊 (2022) Review
Making a local sci-fi film is a tough sell in Hong Kong, let alone one that cost a whopping HK$450 million (!) budget. The movie in question is Warriors of Future <明日戰記>, which was originally released in China and Hong Kong cinemas in August but viewers in the rest of the countries can finally get their chance to stream it on Netflix beginning Friday.
Continue reading Warriors of Future 明日戰記 (2022) Review
After spending more than a decade writing action screenplays for high-profile movies including the Ip Man <葉問> quadrilogy (2008-2019), Special ID <特殊身份> (2013) and Master Z: Ip Man Legacy <葉問外傳：張天志> (2018), Chan Tan-Li finally got his chance to direct his own action movie.
Continue reading Fierce Cop 烈探 (2022) Review
Taking a break from martial arts/action-movie roles for a change, Donnie Yen tries to flex his dramatic chops in Come Back Home <搜救>. The movie also marked the return of Lo Chi-Leung — his first movie in seven years since he last directed The Vanished Murderer <消失的兇手> in 2015.
Continue reading Come Back Home 搜救 (2022) Review
At one point in A Murder Erased <被消失的凶案>, Joe Junior who plays Santos — the Department Director of Public Prosecutions talks about faeces both literally and figuratively. It was more of a monologue I’m not sure whether it’s meant to be taken seriously or simply as a joke.
Continue reading A Murder Erased 被消失的凶案 (2022) Review
Psychological thrillers about infidelity and illicit romance are making a return to Hong Kong cinema this year with Patrick Kong’s Love is Blind, Hate Too <緻命24小時> and Benny Lau’s Burning <焚身>.
Continue reading Love is Blind, Hate Too 緻命24小時 & Burning 焚身 (2022) Reviews
Just like Chilli Laugh Story <闔家辣>, Table for Six <飯戲攻心> was originally set for a Chinese New Year release in February, only to be pushed back several months later.
Continue reading Table for Six 飯戲攻心 (2022) Review
The last time Kearen Pang (Sau-Wai) directed a movie was her impressive feature-length debut five years ago in 29+1, where she took home the HKFA’s Best New Director award and even earned Chrissie Chau a Best Actress nomination.
Continue reading Mama’s Affair 阿媽有咗第二個 (2022) Review
Originally scheduled for Chinese New Year release earlier this year, Chilli Laugh Story <闔家辣> was one of the few movies (among others including Table for Six <飯戲攻心>) that suffered from postponement due to COVID-19-related cinema lockdowns in Hong Kong at the time.
Continue reading Chilli Laugh Story 闔家辣 (2022) Review