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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.
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.
Areas of Expertise:
Film, arts, cultureLanguages Spoken:
English, Mandarin, Cantonese
This big-budget sci-fi fantasy may be an emotional watch for fans of the 2001 Hong Kong show A Step into the Past, even if it falls short.
It was a rough year for Hong Kong cinema – only Another World made more than HK$14 million locally – but there were still some gems released.
Pass and Goal, starring Gigi Leung and newcomer Chau Tsz-yuet, defies expectations with its feel-good story, good acting and funny dialogue.
This Hong Kong tale of greed and corruption is a watchable portrait of greed and corruption, but it is also thoroughly detached from reality.
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A John Wick-inspired action thriller co-produced by Hong Kong and Japan, Road to Vendetta is a textbook case of style over substance.
This daring Hong Kong-set drama follows a woman with cerebral palsy who wishes to experience sex before having a hysterectomy.
Cheung’s eye-catching central performance is the highlight of Joe Chan’s mildly entertaining drama co-starring Leander Lau and Eric Tsang.
A haunting, philosophical triumph, Another World is a morally complex film and one of the best out of Hong Kong this year.
A Foggy Tale has 11 nominations, Left-Handed Girl has nine, while Hong Kong’s Queerpanorama and Road to Vendetta both have five.
Benny Kung’s dystopian fairy tale in which humanity is separated across two sides of the ocean looks good but leaves basic logic far behind.
Takeshi Kaneshiro and Tony Leung Ka-fai are joined by a host of stars in Juno Mak’s crime thriller set in an alternate 1994 Hong Kong.
Will Or stars with Andrew Lam and Yanny Chan as a member of a gaming team in this underdog story that leans on sentimentality over substance.
Philip Keung stars as a former gang boss running a laundromat who helps his neighbours facing eviction in this gloomy, engaging urban tale.
This wistful drama from Wing Chow follows an ex-prisoner and the bond he starts to build with his daughter, who doesn’t know who he is.
Ronald Cheng and Chrissie Chau star in this violent action film about a father chasing Thai criminals who have taken his daughter.
Despite good performances, there is little in this clichéd, overly sentimental Hong Kong story that leaves a lasting impression.
Danny Pang’s Reborn, about a grieving couple who adopt a doll said to be possessed by their son’s spirit, is neither scary nor unsettling.
Peter Chan’s drama set in 1940s Shanghai about a woman jailed for killing her abusive husband is thrilling but morally ambiguous.
Patrick Tam plays a washed-up ex-gang boss who reunites with his son (Locker Lam) in this gritty yet hopeful crime story.
The story of the hunt for a serial killer whose most riveting aspect is the marital woes of a detective (Louis Koo), this film misses a beat.
Young man who raped pastor’s daughter, leading to her death, ends up at his church. Will he avenge her or forgive him? Film ducks the issue.
Lau plays an equity analyst and Ou his protégé, a fresh-faced bank hire chasing a big deal, in Herman Yau’s financial drama.
Andrew Lau’s rags-to-riches biopic streamlines and rather sugarcoats the story of the Wanchai Ferry brand’s Zang Jianhe, played by Ma Li.
Polar opposites come together and have changes of heart in Cheuk Wan-chi’s film. Seeing Koo without a gun in his hand is refreshing.
Hong Kong writer-director Oliver Chan, a mother herself, paints a grim picture of maternity in a patriarchal Chinese society.
Twilight of the Warriors and The Last Dance are expected to scoop up most of the prizes, but are any films more deserving of the awards?
Director Trevor Choi tries to explore Hong Kong’s generational and class divide with a film that sees the poor and young steal from the rich.
Irene Wan plays a lovesick divorcee catfishing a much younger man, played by Bruce Hung, in a superficial film that lacks any chemistry.
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?
