The Hong Kong comedy film “Mahjong Queen,” co-directed by Wong Jing and Yip Nim Chaan, has been generating quite a buzz on social media since its release in mainland China on November 6, 2026. However, in the past eight days, the film has only managed to accumulate a gross box office total of 4,455 yuan (Chinese currency), with a mere 126 attendees having watched it. This underwhelming performance has sparked widespread interest and debate online as of November 13.
“Mahjong Queen” is described as a quintessential traditional Hong Kong romantic comedy, centering on the story of Long Juanfeng (played by the late actor Xu Shaoxiong), who is the village chief of Longjia Village. The film unfolds through multiple storylines, depicting the hilarious experiences of his three daughters as they confront family pressures to marry and navigate their own emotional dilemmas. The cast features prominent Hong Kong stars such as Ko Hoi Ning and Ma Guoming, along with performances from Chan Ka Lok and Chan Jing. It is noteworthy that this film serves as the final screen appearance of the revered Hong Kong actor Xu Shaoxiong.
According to data from Maoyan Professional, “Mahjong Queen” had only one screening on its opening day across the entire country, with no tickets sold. The following day showed an increase to 16 screenings, yet it garnered just 1,000 yuan at the box office.
An important point to highlight is that “Mahjong Queen” is not an entirely new film; it was originally titled “Mahjong Queen Chases Boys” and first premiered as a local Chinese New Year film in Hong Kong on January 28, 2025, where it earned just over 3.8 million Hong Kong dollars. The current mainland release has been categorized as a “limited edition,” with the producers investing nothing in promotional efforts, not even releasing a standard promotional poster.
Audience reviews for “Mahjong Queen” have largely been unfavorable, with its Douban rating currently sitting at a low 4.8. Many viewers openly criticized the film, contending that the traditional Hong Kong comedic formula has become outdated and does not resonate with contemporary audiences. The film’s reliance on clichéd urban banter, deliberate misunderstandings, and simplistic humor that harkens back decades has left numerous viewers feeling that the “comedic effect is even less impressive than the trailers.”
Film critics have observed that while the film borrows the framework of the 1993 movie “Chasing Boys,” it suffers from a lack of narrative vitality and freshness. Elements such as the insertion of AI helmets and attempts to replicate trending scenes, like a funeral being transformed into a birthday party, have been criticized for lacking realism and creating an awkward viewing experience.
As news of the film’s dismal box office performance surged on social media, many observers turned their focus to the late actor Xu Shaoxiong, who played the father role of “Long Juanfeng.” Numerous online commenters expressed a desire to honor “Happy Brother” (a nickname for Xu) by waiting for the film to be made available on streaming platforms in order to offer support by watching it.
In recent years, Wong Jing’s filmmaking trajectory has been characterized by a decline in quality, moving from a high point to struggles in the film industry characterized by a deteriorating trend in box office success. Following the peak of 1.116 billion yuan in box office earnings from “From Vegas to Macau III” in 2016, his standing in theaters and critical reputation has been viewed as lingering below passing marks. By 2026, several of his films have suffered catastrophic box office performances, yielding only tens of thousands or even thousands of yuan.
Having reached his seventies, Wong Jing has openly stated in the past that filmmaking is primarily a business for him. Over the past few years, he has focused on producing numerous low-budget web films and short-screen content, which, while prolific, often lack the necessary refinement, causing “Wong Jing Productions” to increasingly be associated with low-quality outputs in the eyes of the public. This association has further diminished the appeal of his theatrical releases.
In recent times, Wong Jing has taken a step back from independently directing large theatrical films, opting instead to collaborate as a co-director, screenwriter, or producer, signaling a shift in his business focus toward shorter formats and streaming platforms.