I realize I'm quite late to the discussion, but why not:

Maybe you and many of the answers (even when some of them are still really good) look at the problem from the wrong angle, as I believe figuring out your plots concept or focus or theme is much more important right now - and it also tells you how to start your book.

So - what is your story about?

You're probably out to prove some concept of sorts, like 'This detective is the greatest mind in the history of great detectives and super interesting to boot'. In this case, I'd say starting off a bit more tame might do wonders. As your whole work revolves around said detective, it's important to know a lot about him.

However. If your plot is more focused on the murder mysteries (like most of em are) - why not start with a murder mystery?
Yes the detective is important and the main character and probably the best character in the world, but your focus and the whole plot still revolves around the murders, not the detective. So let the first murder occur as soon as possible.

Reading is like swimming in an ocean. We're trying to grab onto
something before we end up drowning and we hope its something that
carries us along the ride. We will feel confused (not good in
survival) if it doesn't.
- me, right now

Following that train of thought, if we start with the detective having lunch, next it's about his living conditions and his wife and kids and his friends and then eventually he stumbles into a murder, I expect the plot to be focused on the detective. You've just shown me how interesting he is, after all. The murder excites me, but at this point I'm led to believe that the detective and his life is still what it's all about.

If the story ends just after the murder happened, with his personal issues left unresolved - I feel betrayed. Even when the work otherwise is great, it will feel off. It's like one of those amazing stories where lots of people leave mid-through, because the plot evolves in ways they weren't expecting before. It's all about the infamous 'promise' you make at the beginning.

Harry Potter is about Harry Potter. It's not about Hogwarts (though thats important too). Thats why we start with Harry Potters backstory and not immediately in Hogwarts. Thats why the plot ends once Potters problems are solved. Thats why Potters problems are connected to every other problem.

If Hogwarts was the the plot's center, it might make sense to start with Potter and his friends arriving there and end with them graduating. Them graduating would have more weight than Harry defeating Voldemort. Potters problems would still be huge, but there would likely be lots of problems he isn't part of. Hogwarts and its inhabitants would be the focus. Issues would only be of importance when they're related to Hogwarts.

The problem is not about 'the heroes journey' or 'in media res' or what technique is better than the other. They're all great, but they serve different purposes. Thats why I'd advice strongly against going for a checklist of which better fits your tastes, instead try to figure out your central theme.

You will ideally have to start and end with this theme, so it will solve decision for you.

Example (because examples are always cool and I enjoy boring people):

In my own work, the core theme is about 'friendship' or 'trust in your friends', cliched that may be.

My opening chapter starts 'in media res', right in the action, to show a couple of amazing friends working together for their goal.
It might be exciting, but thats not my primary goal. I start with the action because I want to show an amazing group of friends, everything else is secondary (still important!, but you know). I could've also started with them becoming friends (which would've been a much slower start), but my plot is more about trust and being friends instead of making/finding them, so I decided against it when I had to chose between those options. If there were more characters joining this group of friends later on, I'd have definitely chosen the slower start as I would need to make sure to understand why these characters are friends to begin with. In my current work, thats not the most important thing for the reader to get. Understanding they are friends is more important than understanding why they are. That's why I start with them being friends.

My story ends with the main character betraying his friends to further his own goal and failing, while his (former distrusting and egomaniac) nemesis triumphs, as she surprises him by putting all of her faith into her allies (which she was never able to do before), putting literally her life in the hands of others.

It's not the most brilliant idea, but I hope the reasoning behind choosing the beginning and the end of the work is understandable. Once you realize what your plot is really about, finding your start and end is the easiest and most natural thing, no checklist needed.

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