Lost in Hong Kong

Plot

In the mid-1990s, university art majors Xu Lai (Xu Zheng) and Yang Yi (Du Juan) fell in love, but then Yang was transferred to the Chinese University of Hong Kong and Xu has never seen her since. Almost twenty years later, the already bald Xu has long forgotten his dreams of becoming an artist, but he can never forget Yang even though he enjoys a comfortable life with his loving wife Cai Bo (Zhao Wei), the only major problem between them being the repeated failure conceiving a child. During a vacation in Hong Kong with Cai's overbearing family, Xu plans to secretly visit Yang, but Cai Bo's goofy young brother Cai Lala (Bao Bei'er) — always carrying a video camera in hand for his documentary project — tags along like his unwelcome shadow to spoil the rendezvous. Meanwhile, in Hong Kong, Wong Jing is filming another riotous gangster movie, while 2 police officers (Sam Lee and Eric Kot) investigate a murder. One of them attempts to topple the case and threatens Xu Lai's near and dear.

Soundtrack

Box office

Buoyed by growing anticipation from fans, minor competition and the ever-growing expansion of the Chinese movie industry, Lost in Hong Kong is projected to be a box office success. It made more than half of what its immediate predecessor earned in its entire lifetime in just three days. Critics noted that the film will no doubt surpass its predecessor's US$208 million gross. It had a worldwide opening of US$106.8 million, which is the second biggest of all time for a comedy film behind The Hangover Part II (US$177.8 million) in 2011, and the biggest for a non-English language film. Its worldwide opening was also the biggest of its release weekend (ahead of Hotel Transylvania 2). Although the film didn't face any serious competition with its fellow new releases during its opening weekend, it started facing competition from new releases—Saving Mr. Wu, Goodbye Mr. Loser, and Chronicles of the Ghostly Tribe—on September 30, 2015 albeit none of them were alble to outgross the former.

In China, it made $1.8 million from midnight screenings and $32 million on its opening day on Friday, September 25, 2015, which is the biggest debut ever for a Chinese film and the third biggest debut overall in China behind Furious 7 and Avengers: Age of Ultron. It debuted with an unprecedented 100,000+ first-day screenings on nearly 20,000 screens—and surpassed all newcomers by occupying 87% share of the day's box office receipts. It earned US$70.6 million in two days. During its opening weekend it grossed an estimated US$106.8 million from a massive 284,000 screenings in three days becoming the second Chinese film after Monster Hunt to open with more than US$100 million. Its 3-day haul of US$106 million is also the second biggest 3-day gross of any film in China irrespective of any day. Only Furious 7, which debuted to US$121 million in its Sunday-Tuesday opening in April, has ever notched a bigger 3-day opening in China. It topped the Chinese box office for the second weekend earning US$41 million. It is the second highest-grossing Chinese film of all time behind Monster Hunt and the third highest-grossing film in China in 2015 behind Monster Hunt and Furious 7.

In the United States and Canada, it opened to a limited release on the same day as its Chinese opening and made $559,000 from 27 theaters—at an average of $20,700 per theater—capturing the weekend's best opening per-theater-average. Well Go USA Entertainment, the distributor of the film in the US said it was "thrilled" with the early results.

Critical response

Despite setting many records, the film has also attracted many negative reviews from Chinese critics and a more mixed reaction than its predecessor Lost in Thailand. Martin Tsai of the Los Angeles Times called the film a "rollicking crowd-pleaser" that "might just be smart and substantive enough to be one of the year's best." On the other hand, Helen T. Verongos of The New York Times was not impressed, labeling it "a very, very, very, long-feeling movie" that "tries too hard to be too many things".

Variety's Maggie Lee considered the film "tamer but still agreeable" compared to Lost in Thailand, noting the comedy is particularly tailored to the mainland China market, "which even Hong Kong viewers will miss." She also predicted that "mainlanders in their 40s" will embrace it much more readily compared to "millennials".