6.4/10
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23 user 24 critic

Double Vision (2002)

Shuang tong (original title)
An FBI Agent pairs with a troubled Taiwan cop to hunt for a serial killer who's embedding a mysterious fungus in the brains of victims.

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Cast

Credited cast:
...
Huang Huo-tu
...
Kevin Richter
...
Ching-fang
...
Li Feng-bo
...
Coroner
Sihung Lung ...
Taoist Expert
...
Serial Killer
Wei-Han Huang ...
Mei-Mei
Rest of cast listed alphabetically:
...
Detective Chang
Hui-Hui Chiang
...
Reporter
De-Hai Chu
Judy Ya-Hsin Ko ...
Xiao Ya, betelnut girl
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Storyline

An FBI Agent pairs with a troubled Taiwan cop to hunt for a serial killer who's embedding a mysterious fungus in the brains of victims.

Plot Summary | Add Synopsis

Taglines:

There Is Only What You Believe. See more »


Motion Picture Rating (MPAA)

Rated R for strong violence/gore | See all certifications »
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Details

Country:

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Language:

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Release Date:

25 October 2002 (Taiwan)  »

Also Known As:

Double Vision  »

Filming Locations:

 »

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Box Office

Opening Weekend:

$244,178 (Hong Kong), 6 December 2002, Limited Release
See more on IMDbPro »

Company Credits

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Technical Specs

Runtime:

| (R-rated)

Sound Mix:

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Color:

(Fujicolor)

Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

Broke the record for the largest production budget of any Taiwanese movie. See more »

Connections

Featured in The Making of 'Double Vision' (2002) See more »

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User Reviews

 
hybrid perspective
16 June 2003 | by See all my reviews

When Edgar Allan Poe wrote Rue Morgue and other Dupin stories, he is said to have created two branches of the detective-novel: the sensational and the deductive. Trying to reconcile elements of the detective with the supernatural the way traditional Taiwan has married Westernization, DOUBLE VISION--quite the adequate title--is a hybrid worth watching for its bastardy. The detective part suffers when the movie ventures into the supernatural, and the former has holes of its own without the latter. However, once you've taken the Red Pill and bought the protagonist's story about his daughter, these holes in logic somewhat become intrinsic to elements of the supernatural, and the unexplained becomes the unexplainable that is plainly accepted. This fallacy grows on the film like the hallucinatory mold the plot revolves around, and DOUBLE VISION gains dreamy and poetic dimensions. Undoubtedly, this is not the deductive type of mystery--the cancer of sensationalism is as terminal as a brain tumor better left not operated: it is the entire charm of the movie.


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