Stephen Teo is a very capable writer on the subject of Hong Kong cinema and here turns to analyse that territory's most famous director.

As ever, Teo's prose is easy to read and he's extremely well informed, coming from the territory as he does (unlike many who write about WKW from a European or North American perspective), all of which provides a useful perspective comepared to other works on the director.

The book strikes a nice balance between between easy to read and also inciteful, all without becoming too techinical or needlessly clever for the sake of it. ( )