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The popular "Chinatown Detective" franchise has seen some hits and misses, and this is definitely one of the hits.

I had to go to an early morning screening cause the movie is constantly booked out in China.

The story at the core of the plot is a classic whodunnit with many twists and turns. The development of an interesting and complex multiple murder plot keeps you hooked throughout. The story is large in scope, intertwined with the Qing Empress sending an imperial captain to arrest Cantonese revolutionaries in America, weapons shipments, a native American tribe, and the Chinese exclusion act.

The latter however ends up taking up a bit too much of the story, overshadowing the murder plot by the middle of the movie.

Known for its jovial detective stories where the stumbling leads solve the case through a keen eye, knowledge of Traditional Chinese Medicine, and sheer luck, the franchise this time bit off more than it could chew with a cartoonishly delivered political plot that kept on growing and taking up more screentime.

Still, this movie is definitely worth seeing and will keep you entertained throughout!

Detective Chinatown 1900, originally known as Tang Ren Jie Tan an 1900, is the fourth entry in the commercially successful comedic investigative franchise. The story takes place in San Francisco's Chinatown where a young Caucasian woman and an elderly First Nations man are found dead in a back alley. The main suspect is the son of a Chinese businessman who cannot provide an alibi for the time of the crime. The father thus hires a quirky, naive and inexperienced Chinese medicine physician as well as the son of the murdered elderly man who happens to be an orphaned Chinese man who had been adopted by a First Nations tribe and who has developed particularly sharp senses.

This movie initially does many things very well. The colourful, detailed and diversified settings look astonishing throughout even though they obviously represent a much more beautiful version of the actual San Francisco's Chinatown. The costumes and make-up also deserve much praise and bring viewers back to a time set between traditional manners and modern perspectives. The quirky characters are introduced step by step which helps the audience to warm up with them when additional information is delivered in a prologue as well as in several flashbacks. The story itself is quite compelling as well since the body count quickly rises and economical, political and social aspects come into play.

However, the film loses its entertaining structure halfway through the rising action. Comedic moments are awkwardly intertwined with investigative passages. Critical comments about the treatment of Chinese immigrants to the United States of America are intertwined with a vapid love story pulled out of thin air. The most important First Nations member in this whole film is played by a Chinese actor who essentially plays a shameful caricature of a truly fascinating culture and even the supporting actors are portrayed as people who constantly misunderstand situations on an almost shockingly stupid level. Criticizing the way Americans have treated Chinese immigrants is indeed important but this film loses itself in racist stereotypes that can be summarized as all important American characters being rotten to the core and all important Chinese characters being inherently heroic. The film goes even further by justifying a violent revolution against monarchy that will ultimately establish a socialist country. As if that weren't enough, the movie even concludes with the megalomaniac statement that one day China will become the most powerful country in the whole wide world. What started as a very good movie develops a very bitter aftertaste due to its aggressive, brainwashing and omnipresent political propaganda. The director, scriptwriters and political influencers behind this film really seem to be taking its audience for complete idiots who can easily be manipulated. To me, this propagandistic movie feels like a desperate cry for help, nationalism and pride in a desperate time when China suffers its most dreadful economic crisis following a long-winded deadly pandemic and numerous particularly outspoken protests against the state system itself.

Now, don't get me wrong at all, I'm positively amazed by Chinese culture, history and society and even share many of the country's economical, political and social values but this movie's radical propaganda show will even drive off people who actually sympathize with the People's Republic of China. This is what must be called a disastrous political own goal.

At the end of the day, let's try to be perfectly fair with our final verdict. This movie is a very entertaining crime comedy that entertains throughout. Its disturbing, extremist and unnecessary propagandistic elements however slow the enjoyment of this film down significantly. Recent reviews by Chinese members of the audience who have found a way to express themselves freely seem to confirm this analysis time and time again.

Though I had high expectations for this movie for being much spoiled of how great it is, I was still pleasantly surprised by Detective Chinatown 1900. As a Chinese immigrant, I'm proud that it's a mainland Chinese director who decided to touch upon topics of immigrant laborers, the Yellow Peril, and the Chinese Exclusionary Act, and further at how well this part of history is adopted, recreated, and incorporated with the overall storyline of the movie --- as it goes, Chen Sicheng is a true merchant in terms of selecting film subjects. Chow Yun-Fat gives hell of a performance for a multilayered Chinese-American hero: a loving father, an approachable elder, a cunning diplomat, and an authoritative (mob) leader. Bai's speech at the court is a rare scene of cultural outcry that struck me personally and inspired new reflections.

Notice how I never mentioned the "detective" bit of the movie? The crime/investigation storyline is decent but not amazing compared to the rest of the franchise, complexity and portrayal wise. Some parts of the murder even took me out in terms of the absurdity and logistics, which leads me to question if the director has a thing with pregnant women (cue his last film Lost in the Stars).

Overall, enjoyable comedy, ambitious multi-storylines, and great performances across the board. Keep in mind, however, that this film is targeted toward the Chinese market/audiences and it's meant to educate, provoke, and moralize, perhaps in a way you might not agree with.

At times this is actually quite a fun spoof along the lines of "Sherlock Holmes" meets "Charlie Chan" by way of "High Noon" but for the most part it's a mess of a film that goes on for far too long. With the Manchu court facing the great powers we saw in "55 Days at Peking" (1963) the Empress Dowager dispatches her finest officer to San Francisco to track down a traitor. As it happens, the Holmesian "Fu" (Haoran Liu) is also in that very city on a quest for the killer of the daughter of senator "Grant" (John Cusack). Quite swiftly his investigation and the imperial mission start to overlap as the enthusiastic "Fu" and his newfound spiritual Indian guide "Gui" (Baoqiang Wang) discover that the prime suspect in the killing (Steven Zhang) is the son of local entrepreneur "Bai" (Chow Yun-Fat) and that the senator is using this to stir anti-Chinese sentiment to the point where he can force them out and seize their property. What now ensues delivers a series of rather randomly assembled escapades that mix murder mystery with western with romance and add a good dose of skullduggery to boot as they try to prove the young "Bai" was framed. Fu and Wang make for a decent enough double act at times, but the story loses it's way way too often and after a while the characterisations - especially "Bai" and "Grant" become light-weight and strained parodies. Fortunately, after about two hours, auteur Sicheng Chen must have felt he was running out of file space and so decided he'd better wrap things up - and for that last quarter of an hour the story knits together things we knew with things we didn't and presents us with a rather feeble denouement that did sort of suggest that there could be more adventures to come for the likeable "Gui" and "Fu". What is potent is the closing statement from the elder "Bai" about remembering the importance of immigrant labour in establishing a country that was all too quick to shun that working community later when it suited it, but it's made in a cack-handed and over-the-top fashion and drowned out by an overpowering score and thus loses much of an impact that might actually resonate in an USA that's still unsure how to recognise those who do/did the work but perhaps didn't all have the same/right skin colour or paperwork. It has it's moments, just nowhere near enough of them.

This is a film released on the first day of Chinese New Year 2025. I have watch none of the Chinatown Detective series, nor other films in the same time period. I find it an okay one.

This movie is characterized as comedy. In fact, I do not find such scenes particularly cleverly developed, and am not amused by these. However, it does entertain the majority of the audience.

What makes it okay is the plot. It is, of course, not a very surprising story, and some people may say it is boring. But the movie tells the story to the audience completely and well. Forgetting about the technologies nowadays, telling a story is a film does, and this one does it fine.

While Detective Chinatown 1900 tries to blend comedy with a dark chapter of history, its tonal imbalance weakens the overall experience. The film relies too much on exposition rather than strong storytelling, making its mystery feel contrived and overly reliant on coincidences. Comedy feels misplaced given the heavy subject matter, and while the cast delivers solid performances, the writing struggles to treat its audience with intelligence. A more serious approach, with only minimal humor, would have made for a much stronger film. Ultimately, it's a forgettable entry that fails to leave a lasting impact.

Yesterday in the Chinese cinemas there was a real frenzy, so we arrived 30 minutes earlier and settled into our seats, expecting the same -according to the cinema app every ticket was gone for shows until 11:30 p.m. But to our surprise, it was pretty chill. Cinema 1 at He Ping in Wuxi was actually only half full, and after watching the film, I totally get why!

"Detective Chinatown 1900" (2025), directed by Chen Sicheng and Dai Mo, is a total flop that brings the once-promising franchise to a new low. What was supposed to be a clever blend of comedy and murder mystery ends up being a cringe-worthy display of poor filmmaking that might even make you feel a bit dumber after watching it.

Set in 1900 San Francisco, the story centers around the murder of a white woman in Chinatown, with a Chinese man as the main suspect. This intriguing setup had the potential for sharp social commentary and gripping storytelling. Unfortunately, the execution is so terrible that it completely wastes any potential the plot had.

Chen Sicheng's direction is all over the place, resulting in a jumbled mess of scenes where Chinese characters face abuse from white racists, justice is obstructed with assumptions of guilt, and white families would rather see their daughters dead than have a Chinese grandchild! The humor misses the mark, often feeling forced and awkward against the serious backdrop of a murder case. The characters are flat and underdeveloped, and the performances are equally disappointing, with actors struggling to deliver their lines or add any real depth to their roles.

It's really sad to see a franchise that started with so much potential fall apart like this. "Detective Chinatown 1900" is a weak attempt that fails to hit the mark on any level, leaving viewers frustrated and let down. This latest entry is a textbook example of how not to make a film that is a complete waste of time for everyone involved. Do yourself a favor and steer clear of this cinematic disaster!

It only seems right to address the elephant in the room when setting a movie in a California Chinatown in the 1900s. Chinese Exclusion Act, working conditions for Chinese labourers who built the transcontinental, etc. All seem relevant and could create a very interesting background if done correctly. Detective Chinatown 1900 beats these over the heads of the audience to the point it's out of place. I think it's more effective to give the audience room to ponder these topics.

When the movie isn't focusing on those travesties or diving into more modern day nationalistic propaganda, it's still weaker as a buddy cop movie than any of the trilogy save a few action scenes.

Honestly, considering Chen Sicheng's usual... performance, this movie is way better than the third one.

A miracle, really.

(He's tortured my expectations so low, it's kinda sad.)

But you gotta admit - dude knows how to make a Chinese New Year blockbuster.

He single-handedly invented "Spring Festival Gala: The Movie."

Whatever's trending on Douyin?

He throws it in.

Musical numbers? Check.

Plot twists? Check.

Stand-up comedy vibes? Yup.

Magic tricks?? Bro, even those.

A big happy ending with a cheesy group song? You bet.

Chen Sicheng really took the recent Spring Festival Gala vibes to heart: "Teach a lesson first, then let people have fun." Man's getting older - just wants that iron rice bowl now.

When it comes to cashing in on patriotism, even Wu Jing would have to bow and call him the godfather.

Honestly, if it weren't for Chow Yun-fat's acting saving those cringy lines, I would've been rolling my eyes halfway through.

A movie that combine Historical,mystery,comedy in one. The production put lot of effort in storyline and character development regardless many restrictions in the movie industry. Motive of the characters is logical to its sudden change of suitation and storyline is smooth with so many add in content. Most of the supporting cast outshine lead actor especially Chow Yun-fat,Yue.

Yue Yunpeng and John Cusack leave a deep impression in their performance. Not sure why so many haters leave a bad reviews for this movie as I feel is underrated for this score.

This 2 years come out so many lousy chinese big production example as fake Cgi,messy storyline,fantasy couple Cp and stardom marketing and I appreciate this CNY got a movie that worth the ticket and support the efforts they put in.

A story of how difficulty for Chinese to survive in white society at the time, rising against odds (Chinese Exclusion Act, racism, inequality), using well known stars of the popular Detective Chinatown series (4th in the series), a murder case/mystery to solve to tie everything together, and was happening in China at the time (end of Qing dynasty, colonial powers, and young people wanting to rebuild China). Well presented characters, with clear motivations, and a big reveal at the end, expected. Overall, a well worth film for Chinese audiences on the mainland and overseas.

Outstanding performance by Chow Yun Fat. Definitely one of his best.

A Story of Chinese Laborers that Transcends Binary Morality During the screening of "Detective Chinatown 1900," I was constantly worried that the film would fall into the trap of individual heroism narratives. The plot emphasized that the fate of the Chinese community in America was directly tied to whether the protagonists could uncover the true culprit. This narrative structure often presents a clear distinction between good and evil, with a group of heroes fighting against a group of villains. However, systemic racism is not the result of a single villain's conspiracy but rather a collaborative structure driven by economic interests. Reducing the conflict to "villainous politicians + ignorant mobs" avoids addressing the symbiotic relationship between capitalism and racism. The idea that solving a single murder case could determine the fate of all Chinese Americans simplifies complex political and economic issues into a technical operation that only the detective protagonist, Qin Fu, can perform. This implies that the systematic persecution of Chinese people is due to their lack of intelligence, at least not being as smart as Qin Fu. This aligns perfectly with neoliberal ideology, which describes systemic issues as personal failures, as Zigmunt Bauman once said.

However, "Detective Chinatown 1900" does not end there. It adds a true ending after the dust settles, subverting the traditional narrative of individual heroism. By deconstructing the heroic narrative, it also demystifies ideological illusions, with a critical impact far beyond the surface-level "reversal" effect.

Throughout the revelation of the murder's truth, the film emphasizes concepts like the rule of law, which actually sets the stage for the final reversal. Law is never a neutral value carrier but a battlefield for the interests of ruling groups. The white opponents of the Chinese Exclusion Act are not motivated by moral awakening but by the need for labor exploitation by Mr. Weiman. The so-called truth and justice advocated by police and journalists are merely a cover for capital redistribution. When this cover is lifted, the hypocrisy of procedural justice is exposed. The truth Qin Fu uncovers and the speech Bai Xuanling prepares are just laughable decorations in front of the transaction of interests. This treatment is even more brutal than "House of Cards," which at least allows the protagonist to win by manipulating procedures. "Detective Chinatown 1900" directly reveals that procedures themselves are toys of power.

Through this revelation, the film transcends the binary moral narrative of good and evil. Supporting the Chinese Exclusion Act is certainly bad, but those who oppose it are not necessarily good. The fate of the act ultimately depends on labor market supply and demand, not moral or legal principles. Grant's failure stems from his proposals conflicting with capitalist economic needs, not because he is immoral. Racism is tolerable, but it is intolerable to harm interests. Therefore, in a capitalist system, there is no such thing as a benevolent ruler. The simple opposition between "rule of law vs. Racism" established in the first half of the film is reconfigured in the end as a political realism narrative between racial union representatives and capitalists. In this narrative, there is no place for heroes. The climax that gives viewers the illusion of a small person changing history is casually mocked by the ending. Qin Fu's ability to uncover the truth with the help of Mr. Weiman does not affect the abolition of the act. He doesn't even save the life of the suspect Bai Zhenbang. Everything in the film is redundant decorative plot in this story, nothing more than a clown performance.

Thus, the film completes a triple deconstruction of law, morality, and heroism. Coupled with Grant's use of his daughter's death to destroy the concept of family first, it achieves a post-colonial parody targeting American mainstream values. It uses Hollywood language to mock the American myth and its four pillars, using mock but ineffective courtroom trials and parliamentary speeches to mock the ritualistic display of American legal procedural justice, using mock but ineffective stories of human kindness and moral awakening to defeat evil to mock the American myth that progress comes from moral purity, and using mock but ineffective last-minute rescues to mock the individualistic heroism of pure clowns. All of this stems from a completely unrelated family tragedy.

When the true ending is revealed, it is not Qin Fu but Bai Xuanling who directly learns the truth. Why doesn't the film design for Qin Fu, the detective, to face the truth directly? Because Qin Fu is actually a modern audience's costume, lacking a real connection to historical trauma. His exemption from suffering makes him a tourist in history, and such a character is not qualified to be the subject of historical narrative. Therefore, the parts of the film that focus on patriotism are relatively restrained to avoid Qin Fu overshadowing the main theme.

The director does not wish to use a modern perspective to digest this tragedy. Today's prosperity cannot compensate for the blood debt of old days; history is an open wound that never heals.

This Chinese-made film cries out for the forgotten 100-year history of Chinese laborers, and the protagonists fight for their rightful rights. However, the film does not have anyone speak out for the suffering of Native Americans, which also implies that Native Americans are still trapped in their reservations, left to fend for themselves without attention.

The film is not merely a suspense thriller; it also delves into themes of culture, identity, and human nature through its historical backdrop and character relationships, imbuing the story with a deeper, more profound significance.

The film's soundtrack complements the plot perfectly, enhancing the suspenseful atmosphere while amplifying emotional expression, delivering an immersive viewing experience for the audience.

Overall, Detective Chinatown 1900 is a masterpiece that seamlessly blends suspense, humor, history, and culture. Whether it's the storyline, performances, or production quality, every aspect is top-notch. It is not only an immensely entertaining film but also a work of art that deserves to be savored time and time again!

Despite a broad brush of very serious subjects the movie is trying to deal with. The Magical Native American man/ a certain idea of Native Americans is resurrected from the Hollywood golden age of cowboy movies, in order to immediately be subverted, a multilayer plot gives even the tiniest characters some closure by the end, and the intrigue remains whole until the very end of the movie, even though it leans more on the side of a gory comedy rather than an investigative drama, or maybe a mix of the two, but, I guess such is life itself as well.

This all ends with an instructive exchange, a sort of a meta-dialogue, between two secondary characters, tycoons, talking about taking ascendance in the world through "power wields everything and, money, wields power" , and indeed , this movie is in of itsellf, showing that the Chinese movie studios can indeed take ascendance as a new, welcome tool of diversifying the sources of power in this world, through their ability of making fun movies which can get the money needed for that.

Now I understand why these movie got bad review from spammers and other western people. Because it disgusting.. Revealed the shame of them. This movie explain how BIG chinese contribution for many countries. In my case, Indonesia. We have survived from the people whose think that they are native people.. They think" ya?! These movie growth our nationalism n love to motherland CHINA?! But 2 hours is not enough look to be forced. This movie make my laugh, cry, astonish in 1 time.. Bravo?!! I hope next chapter will be better than this. Chow yun fat always show his BEST as charismatic and powerful man since pirates of carribean 3. This is a movie should be watched by chinese people.. You won't regret it. Trust me!!

Detective Chinatown 1900 is an absolute masterpiece that seamlessly blends comedy, mystery, and action into an unforgettable cinematic experience. Set against the rich backdrop of 1900s San Francisco, the film delves into a gripping murder mystery that not only entertains but also offers a poignant commentary on societal issues of the era.

The dynamic duo of Qin Fu, portrayed by Liu Haoran, and Ah Gui, played by Wang Baoqiang, delivers performances that are both compelling and endearing. Their chemistry is palpable, bringing to life a partnership reminiscent of the greatest detective pairings in film history. Liu Haoran's portrayal of Qin Fu, a brilliant Chinese medicine practitioner with a knack for deduction, is both nuanced and captivating. Wang Baoqiang's Ah Gui adds depth and humor, making their journey together a delight to watch.

The film's direction by Chen Sicheng and Dai Mo is nothing short of brilliant. They masterfully weave a narrative that is both intricate and accessible, keeping audiences on the edge of their seats while providing moments of genuine laughter and introspection. The cinematography beautifully captures the essence of turn-of-the-century San Francisco, immersing viewers in a world that feels both authentic and vibrant.

Supporting performances by legends like Chow Yun-Fat, who plays Bai Xuanling, add gravitas to the film. His portrayal is both commanding and nuanced, providing a perfect counterbalance to the youthful energy of the lead duo. The inclusion of John Cusack as the antagonistic Congressman Grant adds an extra layer of complexity to the narrative, highlighting the racial tensions of the time.

What truly sets Detective Chinatown 1900 apart is its ability to tackle themes of racial prejudice and cultural identity with sensitivity and humor. The film doesn't shy away from the harsh realities of anti-Chinese xenophobia in 1900s America but approaches the subject with a self-awareness that is both refreshing and impactful.

In conclusion, Detective Chinatown 1900 is a tour de force that offers a perfect blend of humor, mystery, and social commentary. It's a film that entertains while prompting reflection, making it a must-watch for audiences worldwide. A true gem in modern cinema, deserving of every one of its ten stars.

Detective 1900 Sherlock Holmes, Jack the Ripper, and a whole lot of great cinematography action segments see San Francisco like you've never seen it before fun exciting and a treat for the whole family. I love that it was dubbed for everybody to see in here. The action segments were spectacular. Kudos to the director. It was very nice to see John Cusack back in action on the silver screen for this rare treat. It had a hint of Bruce Lee meets Jackie Chan, but a whole new hero gorgeously shot very well written guaranteed to win awards at next year's Oscars, this is my humble opinion, being a director, myself, CEO and founder of A Paul Robinson Film Company TM incorporated. Paul Nathaniel Oleynick.