AFM: Golden Network Kicks Off With Jackie Chan Movie Pair

Jackie Chan Action Movie Week at
Courtesy of F Media

Hong Kong’s Golden Network has picked up international rights to the next two independent films starring Jackie Chan.

It will handle $65 million action adventure “Kung Fu Yoga,” which is now in production under the direction of Stanley Tong, and the previously announced action comedy “Railroad Tigers.”

Chan, who alternates between studio and independent productions, remains a potent brand both in Chinese markets and in international territories. His last indie pictures, “Skiptrace” and “Dragon Blade,” carried budgets estimated at $32 million and $65 million, respectively, and were widely sold. “Dragon Blade” grossed $117 million in China in a Chinese New Year release.

Starring Chan, India’s Sonu Sood, Hong Kong’s Aarif Rahman, K-pop star Lay, and China’s Zhang Yi Xing and Miya Muqi, “Kung Fu Yoga” sees a Chinese archaeologist team up with an Indian professor to search for ancient treasures scattered between China, India and the Middle East.

Scenes in China and Dubai have already been shot. Indian sequences are expected to be completed next year.

The film was billed as one of the first co-productions to unite China and India, with the aim of getting a wide theatrical release in both of the world’s most populous nations. That ambition appeared to be derailed last month when major Indian studio Viacom18 pulled out of the project. However, Golden Network co-chief Clarence Tang says the picture remains on course to remain an Indian-Chinese co-venture. Currently the backers are Chan’s own Sparkle Roll Media Corp. and Beijing Taihe Entertainment.

Chan next shoots “Railroad Tigers” for director Ding Sheng, who previously worked with Chan on “Police Story 2013” and “Little Big Soldier.”

The film is a return to Jackie Chan’s cherished action comedies such as “Project A” and “Drunken Master II.” Due for release in second half of 2016, it is financed by Sparkle Roll, Shanghai Film Group and Beijing Going Zoom Media.

The 1941-set story sees Chan as a railroad worker who leads a team of freedom fighters to derail the Japanese war machine in China.

Golden Network is also continuing the martial arts riff — albeit in more hard-edged style — with “The Master.” The period story presents a conflict between one man’s personal ethics and the rules of “wuxia.”

Directed by Xu Haofeng (“Judge Archer,” “The Sword Identity”) and screenwriter of Wong Kar-wai’s “The Grandmaster,” “The Master” stars Liao Fan, Song Jia and Jiang Wenli.

Financed by by Beijing Century, Magilm Pictures and Heyi Pictures — the production arm of Youku Tudou — it gets a major release in China on Dec. 11.


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  1. says:

    Oh Rex! Get off your high and mighty moralistic high horse! Stop looking at the world with your freaking tainted communism-bashing-capitalism-worshipping attitude. Just so ignorantly annoying.

  2. Rex says:

    As marketable as his pictures still are, especially in China where the government can block out superior foreign competition during CNY and other key time frames, Chan hasn’t actually made a GOOD movie since before 2008/9, when he turned his back on the Hong Kong industry that created him and became a meat puppet for the communist party. Sad to see so many western distributors so happy to keep getting into bed with him, but hey, they’re all free countries (ahem).

    I mean, seriously, did ANYONE who saw Police Story 2013, even in China, actually like it? (the answer is no, by the way). Even Dragon Blade is regarded internationally as a completely forgettable film with ill-suited, lesser western actors in a bid for legitimacy. Please.

    And it’s also a pretty safe bet that the aging Chan’s Railway Tigers will in no way compare to the films from his HONG KONG in any area other than improved technologies available for the filming process. The mainlanders continue to think they can do what Hong Kong had the FREEDOM to do for several decades — including achieving global distribution and minting one easilly identifiable mega-star after another — by simply copying the formula, upping the budget and slathering on the CGI effects. It doesn’t work that way, as they’ve proven time and time again. Sure, their movies may clean up at home, but there are almost always a few governmental factors at play to ensure that. In other Asian territories they barely make a dent, and usually end up going straight to VOD or disc, just as they do over here (outside of token runs in the U.S. Chinese circuits).

    And lest we forget that Skiptracer is directed by Renny Harlin. Surely that won’t matter to mainlander audiences, but in western circles that’s not exactly promising news.

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