| Photos (see all 4 | slideshow) | Videos |
| Tony Leung Ka Fai | ... | Huang Huo-tu | |
| David Morse | ... | Kevin Richter | |
| Rene Liu | ... | Ching-fang | |
| Leon Dai | ... | Li Feng-bo | |
| Kuei-Mei Yang | ... | Coroner | |
| Sihung Lung | ... | Taoist Expert | |
| Brett Climo | ... | Serial Killer | |
| Wei-Han Huang | ... | Mei-Mei | |
| rest of cast listed alphabetically: | |||
| Han Chang | ... | Detective Chang | |
| Han Lin | |||
| David Newell | ... | FBI Agent | |
| David Ross Paterson | ... | FBI Agent (as David Paterson) | |
| Doug Penty | ... | CNN Journalist | |
| Angus McLaren | ... | St. Louis Murder Victim (uncredited) | |
Directed by | |||
| Kuo-fu Chen | |||
Writing credits(in alphabetical order) | ||
| Kuo-fu Chen | writer | |
| Chao-Bin Su | writer | |
Produced by | |||
| Kuo-fu Chen | .... | executive producer | |
| Kuo-fu Chen | .... | producer | |
| Rita Fung | .... | line producer | |
| Chih-ming Huang | .... | producer | |
| Ricky Strauss | .... | associate producer | |
| Te-Sheng Wei | .... | associate producer | |
Original Music by | |||
| Sin-yun Lee | |||
Cinematography by | |||
| Arthur Wong | |||
Film Editing by | |||
| Kuo-fu Chen | |||
| Te-Sheng Wei | |||
Casting by | |||
| Jia-fung Kuo | |||
| Shiu-lan Lee | |||
Art Direction by | |||
| Silver Cheung | |||
| Ringo Fung | |||
| Eddie Wong | |||
| Timmy Yip | |||
Set Decoration by | |||
| Ringo Fung | |||
| Eddi Wong | |||
Costume Design by | |||
| Angelo Castilho | |||
| Timmy Yip | |||
Makeup Department | |||
| Paul Katte | .... | special makeup effects supervisor: Make-up Effects Group | |
| Nick Nicolaou | .... | special makeup effects supervisor: Make-up Effects Group | |
Second Unit Director or Assistant Director | |||
| Chi-shiang Lin | .... | first assistant director | |
| Sherrie Liu | .... | second assistant director | |
Art Department | |||
| Milo Angel | .... | graphic artist | |
Sound Department | |||
| Thanos Kazakos | .... | sound re-recording mixer: English dub | |
| Andrew Neil | .... | sound | |
| Paul Pirola | .... | sound | |
| Shiang-Chu Tang | .... | sound recordist | |
Special Effects by | |||
| Kevin Chisnall | .... | special effects supervisor | |
| Paul Katte | .... | special effects makeup | |
| Nick Nicolaou | .... | special effects makeup | |
Visual Effects by | |||
| Paul Buckley | .... | lead 3D animator | |
| Mark Dickson | .... | digital compositor | |
| Mike Dunn | .... | 3D animator | |
| Alan Fairlie | .... | digital compositor | |
| Aaron Gardiner | .... | 3D animator | |
| Michael Gracey | .... | digital compositor | |
| Ineke Majoor | .... | visual effects producer | |
| Ellie Meure | .... | digital compositor | |
| Bruce Phillips | .... | visual effects supervisor | |
| Peter Webb | .... | visual effects supervisor | |
Stunts | |||
| Tony Leung Siu Hung | .... | stunt coordinator | |
Camera and Electrical Department | |||
| Saeed Adyani | .... | still photographer | |
| Raymond Lam | .... | Steadicam operator | |
| Jamie Leckie | .... | assistant grip: Australia | |
| Jimmy Wong | .... | Steadicam operator | |
Other crew | |||
| Sharon Kahn | .... | unit publicist | |
| Peggy Lee | .... | production controller | |
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| Taking Lives | Copycat | Dead On: Relentless II | Sacrifice | Gui si |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Horror section | IMDb Taiwan section |
| Add this title to MyMovies |
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.