Holy crap I Did It My Way has some great comedy in it. Too bad it’s accidental.

The highs, the lows, the little things that shaped the year in cinema in Hong Kong.

Felix Chong, Tony Leung and Andy Lau should be a cocktail for a great thriller. The Goldfinger is… okay.

Ann Hui’s appropriately titled Elegies makes us wonder who she’s eulogising.

Nick Cheuk makes his debut with the rightly provocative Time Still Turns The Pages.

Lawrence Kan delivers Hong Kong’s own Spotlight with In Broad Daylight and delivers props to journos while he’s at it.

Jonathan Li reteams with producer Soi Cheang and star Gordon Lam for nihilism-lite, in Dust to Dust.

As a paean to a vanishing Hong Kong Band Four lays it on real thick.

Strap in for an old fashioned Hong Kong triad brothers actioner.

Note: Au Cheuk-man’s very dramatic Stand Up Story has hardly any stand up comedy in it.

Is newcomer Nate Ki’s Back Home the next steap in Hong Kong horror? Could be.

People, we have a contender for 2023’s biggest turkey. I give you: Onpaku.

It Remains doesn’t really…

Smart or too smart? Amos Why dives into the mobile world in Everyphone Everywhere.

Mirror is just so 2022. Here’s comes Error with YUM Investigation, a little 1982.

Herman Yau’s The White Storm 3: Heaven or Hell is a lot of bang for your buck. Literally. No, like everything blows up.

Chow Yun-fat stops gambling his life away in Anthony Pun’s paean to kindness, One More Chance.

Haider Kikabhoy and Dora Choi turn the spotlight on some long lost Hong Kong history in To Be Continued.

For an idea of what Social Distancing is about, refer to the Chinese title. Just don’t expect much.

Soi Cheang, Hong Kong’s greatest nihilist, returns with more madness, destiny, blood and guts in Mad Fate.