PUNTUACIÓN EN IMDb
7,1/10
8,4 mil
TU PUNTUACIÓN
Añade un argumento en tu idiomaA rookie cop teams up with a former detective with a supernatural gift to hunt down a serial killer.A rookie cop teams up with a former detective with a supernatural gift to hunt down a serial killer.A rookie cop teams up with a former detective with a supernatural gift to hunt down a serial killer.
- Dirección
- Guión
- Reparto principal
- Premios
- 7 premios y 11 nominaciones en total
Ching-Wan Lau
- Bun
- (as Lau Ching Wan)
Ka-Tung Lam
- Ko Chi-wai
- (as Lam Ka Tung)
Kwok-Lun Lee
- Wong Kwok-chu
- (as Lee Kwok Lun)
Choi-ning Lee
- Gigi
- (as Karen Lee)
Eddie Cheung
- Violent Man - Ko's Inner Personality
- (as Cheung Siu Fai)
Suet Lam
- Fatso - Ko's Inner Personality
- (as Lam Suet)
Jay Lau
- Calculating Woman - Ko's Inner Personality
- (as Lau Kam Ling)
Ling-To Yuen
- Policeman
- (as Yuen Ling To)
Jonathan Yat-Sing Lee
- Weak Boy - Ho's Inner Personality
- (as Jonathan Lee)
Apple Chow
- 7-11 Worker
- (as Apple Chau)
Reseñas destacadas
Not a masterpiece, but an interesting angle on a police drama with a lot of atmosphere, and definitely entertaining. This cop pulled out of retirement is like a comic book character - he has the power to see people's inner selves/personalities (sometimes multiple), and he can also instantly ascertain who's committed a crime if he immerses himself into some aspect of it. For example, during the opening credits he figures a crime out by having himself put into a suitcase and tossed down several flights of stairs, and he learns more in the main story by digging a grave out in the woods and burying himself. He's formidable but he's off the force for a reason - he's a little unhinged (hence the title), having sliced off an ear ala Van Gogh when his boss retires, and seeing an imaginary version of his wife from the past who's left him. The character allows for a film that's filled with shifting points of view, where we see what's in his mind's eye and then reality as he tries to prove the crimes of a dirty cop, which was pretty fun. There was also a nice little dark tinge in the ending, with the hint that the pattern recurs, something I also liked.
Eighteen months before this movie begins, two cops pursued a suspect into a forest. The suspect got away. One cop came out. Since then, the missing man's gun has been used in a wide variety of robberies. Inspector Andy On is in charge of the case so far as the robberies and attendant murders are concerned. He has run out of leads. So he recruits Ching-Wan Lau, a disgraced former cop whose career ended in apparent madness in which he claimed supernatural powers.
There's no madness in the Chinese title; it means "Hard Boiled." The English title is supposed to clue the audience into the fact that there's at least one insane cop here, but as the story advances, the question of who is mad becomes murky. Is it On, whose efforts to close the case become increasingly unhinged? Is it Lau, who has ceased to take his prescribed anti-psychotic medicines, and who has constructed a fantasy world in which he is still with his ex-wife, Kelly Lin? Or is it the dead man's partner, who says he is investigating what he believes is his partner's murder? It all ends in a shoot-out in a hall of mirrors, but will anything really be resolved?
Directors Johnny To and Ka-Fai Wai have created another stylish crime drama in To's signature blue-lit world in the midst of blackness that constantly shifts the size and shape of the audience's frame. It's all very interesting to watch, but in the end there is no release from the nightmare world that is traditional for detective stories, even one as murky as this.
There's no madness in the Chinese title; it means "Hard Boiled." The English title is supposed to clue the audience into the fact that there's at least one insane cop here, but as the story advances, the question of who is mad becomes murky. Is it On, whose efforts to close the case become increasingly unhinged? Is it Lau, who has ceased to take his prescribed anti-psychotic medicines, and who has constructed a fantasy world in which he is still with his ex-wife, Kelly Lin? Or is it the dead man's partner, who says he is investigating what he believes is his partner's murder? It all ends in a shoot-out in a hall of mirrors, but will anything really be resolved?
Directors Johnny To and Ka-Fai Wai have created another stylish crime drama in To's signature blue-lit world in the midst of blackness that constantly shifts the size and shape of the audience's frame. It's all very interesting to watch, but in the end there is no release from the nightmare world that is traditional for detective stories, even one as murky as this.
This is one of those scarce movies that might seem erratic until you get to the ending, where everything just clicks and all the pieces form one remarkable narrative.
To say that the ending blew me away is an understatement; it retroactively gives so much more meaning to Inspector Ho's role in the movie. This is how you create subversion. Instead of you groaning at his foolishness for doubting Bun, you are shocked by how the ending complements the initial storyline of corrupt cops and their egos, who will do anything to protect themselves.
Bun's ability to see personalities is captivating both visually and narratively. There are so many bizarre and impulsive interactions, especially with the seven that Ko Chi-wai has. I wish more of them were highlighted; a couple of them don't even say a word. It really feels like they are supposed to represent the seven deadly sins, but alas, not enough time was given to them.
To say that the ending blew me away is an understatement; it retroactively gives so much more meaning to Inspector Ho's role in the movie. This is how you create subversion. Instead of you groaning at his foolishness for doubting Bun, you are shocked by how the ending complements the initial storyline of corrupt cops and their egos, who will do anything to protect themselves.
Bun's ability to see personalities is captivating both visually and narratively. There are so many bizarre and impulsive interactions, especially with the seven that Ko Chi-wai has. I wish more of them were highlighted; a couple of them don't even say a word. It really feels like they are supposed to represent the seven deadly sins, but alas, not enough time was given to them.
Johnnie To & Wai Ka-Fai's Mad Detective is a film that turns the Hong Kong crime genre upon it's head. Based around the simple concept of a man that can see everyone's hidden persona's, Mad Detective is anything but formulaic and right from the very start dissuades any notion that this is just another flashy HK crime flick. Lau Ching-Wan stars as the eponymous Mad Detective, Inspector Chan Kwai-Bun, a brilliant detective forced into retirement when his methods and actions become a little too bizarre. Alongside him Andy On plays young Inspector Ho who tries to enlist the aid of retired Inspector Bun to solve a complex murder case involving a missing police officer and a suspect with multiple personalities.
What follows is a highly ingenious, highly inventive and above all, highly entertaining piece of cinema. Paced perfectly, this viewer sat on the edge of his seat, intrigued and enthralled in equal measure and delighting and the simple, unrestrained freshness of this film and it's premise. Lau Ching-Wan plays his part exceptionally well as the oddball Inspector Bun, throwing all semblance of logic out of the window as he investigates the case, but it's a straight faced performance; there's no comedy here as the plot and it's characters take themselves very seriously. However, despite this it's hard not to find humour in some of the scenes involving multiple personalities, and whether this was the directors intent or not, it does provide a handful of light hearted moments that help to break up this complex and down-right weird film into more palatable pieces.
Overall, if you're looking for a crime film that's as inventive and intriguing as it is enjoyable, you can't go wrong with Mad Detective. See it now before Hollywood does an inevitable remake.
What follows is a highly ingenious, highly inventive and above all, highly entertaining piece of cinema. Paced perfectly, this viewer sat on the edge of his seat, intrigued and enthralled in equal measure and delighting and the simple, unrestrained freshness of this film and it's premise. Lau Ching-Wan plays his part exceptionally well as the oddball Inspector Bun, throwing all semblance of logic out of the window as he investigates the case, but it's a straight faced performance; there's no comedy here as the plot and it's characters take themselves very seriously. However, despite this it's hard not to find humour in some of the scenes involving multiple personalities, and whether this was the directors intent or not, it does provide a handful of light hearted moments that help to break up this complex and down-right weird film into more palatable pieces.
Overall, if you're looking for a crime film that's as inventive and intriguing as it is enjoyable, you can't go wrong with Mad Detective. See it now before Hollywood does an inevitable remake.
Johnnie To and Ka-Fai Wai have reinvented the detective genre and things will probably never be the same.
Inspector Ho is stumped by the disappearance of a detective 18 months earlier.Desperate for a break he looks to Bun, a genius profiler with whom he briefly worked years before...when Bun went crazy and was thrown off the force. A funny, tense un-nerving cop drama where nothing is certain. Is Bun a genius or crazy? Has Ho lost his mind? Where will it all end? Its a trip. I'd tell you more but I'm still trying to process what I saw since things shift from our reality to Bun's, often so its not clear. Its a trip and then some. Actually I'd be very surprised if this film doesn't end up with a cult following, an American remake and lots of articles written about it. Its just a nifty little thriller.
Definitely worth a viewing or two.
Inspector Ho is stumped by the disappearance of a detective 18 months earlier.Desperate for a break he looks to Bun, a genius profiler with whom he briefly worked years before...when Bun went crazy and was thrown off the force. A funny, tense un-nerving cop drama where nothing is certain. Is Bun a genius or crazy? Has Ho lost his mind? Where will it all end? Its a trip. I'd tell you more but I'm still trying to process what I saw since things shift from our reality to Bun's, often so its not clear. Its a trip and then some. Actually I'd be very surprised if this film doesn't end up with a cult following, an American remake and lots of articles written about it. Its just a nifty little thriller.
Definitely worth a viewing or two.
¿Sabías que...?
- CuriosidadesTodas las entradas contienen spoilers
- PifiasAt the beginning of the movie, when the main character is cutting his ear off, we can clearly see the half of it. (at around 63 mins) when the ear unfolds from the bandage we see a whole piece of it.
- Citas
Inspector Bun: [Bun talks to himself] If you shoot, you will be no different from everyone else.
Inspector Bun: [on second thought] I am human too. Why should I be any different?
[Bun pulls the trigger]
- Créditos adicionalesIn the part of the end credits sequence before the comprehensive lists of cast and crew begin to scroll, the lines of text of the credits are tilted counter clockwise, forming roughly thirty-degree slope/incline.
- Versiones alternativasJohnnie To and Ka-Fai Wai approved a new cut of the movie for the international market, with two scenes from the Hong Kong cut removed:
- A scene after Bun buries himself under the ground visualizing a scenario where Ko Chi-Wai's spirits are planting fake evidence on the Indian as a murder suspect. The scene removed shows Bun "dreaming" and visualizing another scenario of Ho Ka-On's child spirit being chased and overpowered by Chi-Wai's seven spirits. One of Chi-Wai's spirits urges another of his spirits to shoot the child spirit dead, to complicate the police investigation, to which that spirit responds shooting the child spirit. This moment awakes Bun from his "sleep" under the ground.
- The scene where Ho Ka-On is chasing a mask-wearing suspect through the streets before the two of them bump onto a moving truck separating each other. What follows are two different outcomes for respective cuts. In the Hong Kong cut, Ka-On is about to get up and sees the suspect who looks at Ka-On. The suspect starts to run towards Ka-On, who tries to reach for his gun but realizes that it's missing. The suspect points his gun at Ka-On and proceeds to search him and asks him where Ka-On has his gun. Ka-On responds saying that he lost it, and then the suspect kicks him down and starts hitting him with his gun while repeatedly asking for Ka-On's gun while Ka-On, being on his knees injured, repeats saying that he lost his gun. The suspect is shown pointing his gun at Ka-On again while thinking it's not worth killing him, and starts walking away. An overhead shot of Ka-On lying on the ground is shown afterward.
- ConexionesReferences El perro rabioso (1949)
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Detalles
Taquilla
- Recaudación en Estados Unidos y Canadá
- 4629 US$
- Fin de semana de estreno en EE. UU. y Canadá
- 2682 US$
- 20 jul 2008
- Recaudación en todo el mundo
- 2.160.790 US$
- Duración1 hora 29 minutos
- Color
- Mezcla de sonido
- Relación de aspecto
- 2.35 : 1
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