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But while his character’s daydreams often amuse, viewers new to writer-producer Patrick Kong Pak-leung’s lamentable gender politics may be shocked to find women portrayed either as mentally unstable, schemers, gold-diggers or sex objects straight out of a porn film. Our Days in 6E A very didactic reminder of the importance of social inclusion, this filmmaking debut by Checkley Sin Kwok-lam follows several problem students from a Band Three secondary school in a new town as they learn to overcome their respective family traumas.

While Sin has the best intentions, his lack of acumen as a writer-director makes this quite an abysmal film to sit through. Meow Benny Chan Muk-sing’s first non-action film in two decades is a wacky family comedy, imbued with a touch of lazily scripted sci-fi fantasy that suggests it’s pitched at pre-teens.

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Read also: The 25 best films of 2017 released in Hong Kong, from Thor: Ragnarok to Blade Runner 2049 The 25 worst films of 2017 released in Hong Kong, from The Founding of an Army to The Emoji Movie And while several of them are ranked high on our list, the top spot of this year’s list is, perhaps unsurprisingly, courtesy of one of the last true masters of Hong Kong cinema.

Here is your (almost complete) list of every Hong Kong film released in 2017, ranked from worst to best. Cherry Returns Chris Chow’s remarkably underwhelming psycho-thriller stars Cherry Ngan Cheuk-ling as a kidnap victim reunited with her wealthy family after 12 years in captivity.

Lazily plotted and abysmally directed, the film challenges plausibility from its opening moments, only to plummet further into relentlessly baffling nonsense. The White Girl This co-directing effort by Christopher Doyle and Jenny Suen is a self-proclaimed love letter to Hong Kong and a middle finger to the art of sensible screenwriting.

It strives to be an ode to the city’s essence at a time of political upheaval – only to play like a vanity project, bereft of good humour, a basic sensitivity to history, or any satirical edge in its political allegory. Husband Killers A revolting male fantasy disguised as a women-empowering revenge thriller, this fourth feature by former playwright and theatre director Fire Lee Ka-wing ( ) is an exploitation film so misguidedly conceived, it’s bound to leave an awful taste in the mouth for most viewers.

It’s just too bad the director forgoes the humanistic sensibility of most contemporary war films, instead shifting attention from the suffering of individual soldiers to the party’s commitment to the revolutionary course. The Adventurers Titles of action adventure films don’t come more generic than that of – even if it proves an apt representation of Stephen Fung Tak-lun’s glossy yet unapologetically superficial caper.

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