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South China Morning Post
10-07-2025
- Entertainment
- South China Morning Post
Bruce Lee, Jackie Chan films to get AI reboots in China. But not all think its a good idea
Hollywood's relationship with artificial intelligence is fraught, as studios balance the need to cut costs with growing concerns from actors, directors and crew members. But in China, efforts to use AI in entertainment are taking a more no-holds-barred approach. The China Film Foundation, a non-profit fund under the Chinese government, plans to use AI to revitalise 100 kung fu classics including Police Story , Once Upon a Time in China and Fist of Fury , featuring Jackie Chan, Jet Li and Bruce Lee , respectively. The foundation said it will partner with businesses including Shanghai Canxing Culture & Media, which will license 100 Hong Kong films to AI companies to reintroduce those movies to younger audiences globally. Jet Li in a still from Once Upon a Time in China. Photo: Golden Harvest The foundation said there are opportunities to use AI to tell those stories through animation, for example.
South China Morning Post
01-07-2025
- Politics
- South China Morning Post
Hong Kong's best chapters are still unwritten
Feel strongly about these letters, or any other aspects of the news? Share your views by emailing us your Letter to the Editor at [email protected] or filling in this Google form . Submissions should not exceed 400 words, and must include your full name and address, plus a phone number for verification Advertisement As Hong Kong celebrates the 28th anniversary of its return to Chinese rule, I can't help but recall my first impressions of the city. As a child, I watched the handover ceremony on television in Dhaka, Bangladesh. Hong Kong wasn't very familiar. We knew it as the land of kung fu or Britain's crown colony. I read about Kai Tak airport in a book written by Satyajit Ray and imagined Hong Kong as a vibrant city, shrouded in mystery. I thought of Hong Kong the way it was depicted in Hollywood films – full of intrigue, skyscrapers and narrow, neon-lit alleys. I never thought I would one day live here.
Yahoo
30-06-2025
- Entertainment
- Yahoo
AI is controversial in Hollywood. For China's film business, it's no holds barred
Hollywood's relationship with artificial intelligence is fraught, as studios balance the need to cut costs with growing concerns from actors, directors and crew members. But in China, efforts to use AI in entertainment are taking a more no-holds-barred approach. The China Film Foundation, a nonprofit fund under the Chinese government, plans to use AI to revitalize 100 kung fu classics including "Police Story," "Once Upon a Time in China" and "Fist of Fury," featuring Jackie Chan, Jet Li and Bruce Lee, respectively. The foundation said it will partner with businesses including Shanghai Canxing Culture & Media Co., which will license 100 Hong Kong films to AI companies to reintroduce those movies to younger audiences globally. The foundation said there are opportunities to use AI to tell those stories through animation, for example. There are plans to release an animated version of director John Woo's 1986 film "A Better Tomorrow" that uses AI to "reinterpret" Woo's "signature visual language," according to an English transcript of the announcement. "By empowering cultural storytelling with technology, we can breathe new life into the classics and tell China's stories farther and louder," said Zhang Pimin, chairman of the China Film Foundation, at the Shanghai International Film Festival earlier this month. Read more: Inside Google's plan to have Hollywood make AI look less doomsday The project raised eyebrows among U.S. artists, many of whom are deeply wary of the use of AI in creative pursuits. The Directors Guild of America said AI is a creative tool that should only be used to enhance the creative storytelling process and "it should never be used retroactively to distort or destroy a filmmaker's artistic work." 'The DGA strongly opposes the use of AI or any other technology to mutilate a film or to alter a director's vision," the DGA said in a statement. "The Guild has a longstanding history of opposing such alterations on issues like colorization or sanitization of films to eliminate so-called 'objectionable content', or other changes that fundamentally alter a film's original style, meaning, and substance." The project highlights widely divergent views on AI's potential to reshape entertainment as the two countries compete for dominance in the highly competitive AI space. In the U.S., much of the traditional entertainment industry has taken a tepid view of generative AI, due to concerns over protecting intellectual property and labor relations. While some Hollywood studios such as Lionsgate and Blumhouse have collaborated with AI companies, others have been reluctant to announce partnerships at the risk of offending talent that have voiced concerns over how AI could be used to alter their digital likeness without adequate compensation. But other countries like China have fewer guardrails, which has led to more experimentation of the technology by entertainment companies. Many people in China embrace AI, with 83% feeling confident that AI systems are designed to act in the best interest of society, much higher than the U.S. where it's 37%, according to a survey from the United Nations Development Program. The foundation's announcement came as a surprise to Bruce Lee Enterprises, which oversees legal usage of Lee's likeness in creative works. Bruce Lee's family was "previously unaware of this development and is currently gathering information," a spokesperson said. Woo, in a written statement, said he hadn't heard from the foundation about the AI remake, noting that the rights to "A Better Tomorrow" have changed hands several times. 'I wasn't really involved in the project because I'm not very familiar with AI technology," Woo said in a statement to The Times. "However, I'm very curious about the outcome and the effect it might have on my original film." David Chi, who represents the China Film Foundation's Special Fund for Film and Urban Development, said in an interview that Chan is aware of the project and he has plans to talk with Chan's team. A representative of Chan's did not respond to a request for comment. "We do need to talk ... very specifically how we're using animated or AI existing technology, and how that would combine with his image rights and business rights," Chi said. Chi did not have an immediate response to the DGA, Bruce Lee Enterprises and Woo's statements. AI is already used in China for script development, content moderation and recommendations and translation. In postproduction, AI has reduced the time to complete visual effects work from days to hours, said He Tao, an official with the National Radio and Television Administration's research center, during remarks at the festival. "Across government agencies, content platforms, and production institutions, the enthusiasm to adopt and integrate AI has never been stronger," He said. Read more: Hollywood writers say AI is ripping off their work. They want studios to sue During the project's announcement, supporters touted the opportunity AI will bring to China to further its cultural message globally and generate new work for creatives. At the same time, they touted AI's disruption of the filmmaking process, saying the "A Better Tomorrow" remake was completed with just 30 people, significantly fewer than a typical animated project. China is a "more brutal society in that sense," said Eric Harwit, professor of Asian studies at the University of Hawaii at Manoa. "If somebody loses their job because artificial intelligence is taking over, well, that's just the cost of China's moving forward. They don't have that kind of regret about people losing jobs and there are less opportunities for organized protest against the Chinese government." Hollywood guilds such as SAG-AFTRA have been outspoken about the harm AI could have on jobs and have fought for protections against AI in contracts in TV shows, films and video games. The unions have also pushed state and federal legislators to create laws that would give people more protections against deep fakes, or videos manipulated to show a person endorsing an idea or product that they don't actually support. There is no equivalent of that in China. "You don't have those freestanding labor organizations, so they don't have that kind of clout to protest against the Chinese using artificial intelligence in a way that might reduce their job opportunities or lead to layoffs in the sector," Harwit added. U.S. studios are also going to court to challenge the ways AI companies train their models on copyrighted materials. Earlier this month, Walt Disney Co. and Universal Pictures sued AI startup Midjourney, alleging it uses technology to generate images that copy the studios' famous characters, including Yoda and Shrek. Read more: Jamie Lee Curtis just wanted an AI ad removed, not to become the 'poster child of internet fakery' In China, officials involved in the project to remaster kung fu films said they were eager to work with AI companies. They said that AI will be used to add "stunning realism" to the movies. They are planning to build "immersive viewing experiences" such as walking into a bamboo forest duel and "feeling the philosophy of movement and stillness." In areas such as animation, new environments could be created with AI, Chi said. "We are offering full access to our IP, platform, and adaptation rights to partners worldwide — with the goal of delivering richer, more diverse, and high-quality AI enhanced film works to global audiences," said Tian Ming, chairman of Shanghai Canxing Culture & Media Co. in his remarks earlier this month. Tian said there is no revenue-sharing cap and it is allocating about $14 million to co-invest in selected projects and share in the returns. The kung fu revitalization efforts will extend into other areas, including the creation of a martial arts video game. Read more: Two-minute TV shows have taken over China. Can they take over the world? Industry observers said China is wise to go back to its well of popular martial arts classics out of Hong Kong, which have inspired U.S. action movies for decades. There's also not as much risk involved for China, said Simon Pulman, a partner at law firm Pryor Cashman. "They've got very little to lose by doing this," Pulman said. "If it can potentially enhance the value of those movies, there's very little downside for them." China's film industry has grown significantly compared to decades ago, boosted by the proliferation of movie theaters, including Imax screens, in the country. In the past, China's box office relied heavily on U.S. productions like movies from the "Fast & Furious" and Marvel franchises, but now local movies dominate the market. The Chinese animated movie "Ne Zha 2" grossed $2.2 billion at the box office globally. But those Chinese productions generally don't draw large U.S. audiences when they're released in the States. The classic martial arts movies, however, have a global following and enduring legacy. "People love martial arts movies, because action travels," said Paul Dergarabedian, senior media analyst at Comscore. "It doesn't matter what language it's in, if you have a great action sequence and great fighting sequences." Sign up for our Wide Shot newsletter to get the latest entertainment business news, analysis and insights. This story originally appeared in Los Angeles Times.
South China Morning Post
22-06-2025
- Entertainment
- South China Morning Post
Hong Kong rapper Billy Choi blends dim sum and hip hop
In an old teahouse in Tsuen Wan, one wall has an unusual 'menu' of kung fu moves. This is the setting of 'Hoi Lin Teahouse', a song from Hong Kong rapper Billy Choi released earlier this year. He named the song after his family's dim sum restaurant. The 27-year-old transformed his family's teahouse into a kung fu studio in the song's music video. Just like how kung fu masters teach their trainees, Choi's family has been passing down the craft of running a traditional teahouse. 'The [song's] inspiration comes from my desire to preserve traditions – whether it's martial arts, handmade dim sum or teahouses,' the rapper said. Since debuting in 2019, Choi has been releasing tracks related to Hong Kong's culture and social issues. His songs tell stories that young people can relate to. 'I've written songs about places I grew up ... The main idea is to never forget where you come from,' he said. Hoi Lin Teahouse At 15 years old, Choi began helping out at his family's dim sum restaurant during the summer. There, he learned a lot from how his parents dedicated themselves to the teahouse. 'Some customers would say things to my dad like, 'Your siu mai isn't very good,'' Choi recalled. 'But instead of arguing, he'd just nod, saying, 'Not everyone will like your food.' That really stuck with me. It's the same with music.' He explained: 'Not everyone will like my songs, and that's OK. We don't need to argue.' Over the years, he saw the challenges that teahouses face. Many of them do not have enough workers because most of them are getting old. Even though his family's restaurant is a big part of his life, Choi knew he had to leave his comfort zone to pursue his dream of music. 'I decided I wouldn't take over the business even though I'd come back to help sometimes,' he shared. 'When you're chasing a dream, you can't leave yourself an easy way out.' Hong Kong's hip-hop scene Choi's most famous song, 'Sorry, This is Hong Kong', is about the shared experiences of living in a very high-pressure city. It is also his most personal track as it discusses his childhood struggles. 'Even though my family seemed supportive on the surface, every family has their share of challenges,' he said. Looking ahead, his bigger goal is to help the hip-hop scene grow in Hong Kong. 'It's not mainstream yet,' Choi said. 'I hope that by building my career and showing others it's possible to make a living through rap, I can inspire young people to pursue this art.'
Yahoo
09-06-2025
- Entertainment
- Yahoo
Compared to the Original and ‘Cobra Kai,' Is ‘Karate Kid: Legends' a Hit or a Miss?
Coming on the heels of Netflix's celebrated Cobra Kai, responses to Karate Kid: Legends have been decidedly mixed. For some, the pairing of original star Ralph Macchio and Jackie Chan (who, in 2010's The Karate Kid, took over the mentor role formerly filled by the late Pat Morita) offers enough warm-hearted nostalgia to save the day. Others, meanwhile, have criticized the film for not giving its returning characters enough to do, in addition to calling the movie too lightweight for its own good. With Karate Kid: Legends currently sitting at a middling 60 percent on Rotten Tomatoes, how does the new sequel stack up against Cobra Kai and the movies which preceded it?When Legends picks up, Mr. Han is in Beijing teaching a new generation of youth a particular form of kung-fu. (The connection between Han and Miyagi, and the reason the former is teaching a different fight technique than his mentor, is laid out nicely in a succinct opening scene.) Han's plans to make his nephew, Li Fong (Ben Wang), one of the world's best fighters are scuttled when Li's mother (Ming-Na Wen) decides to move them to New York City following a tragic death in the family. In Manhattan, Li falls in with Mia (Sadie Stanley), whose father, former fighter Victor (Joshua Jackson), owns a pizza restaurant. He also owes some very unsavory characters a lot of money, and to pay them back enters a fighting competition. As he hasn't fought in years, it falls to Li to teach Victor the ways of kung fu. If you've seen the trailer or any of the posters, you know this involves some help from Han and returning student (now master) Daniel LaRusso (Ralph Macchio).Karate Kid: Legends, the sixth movie in the franchise, is easily the best Karate Kid movie since the original. It's certainly leagues above the tepid, utterly dull 2010 remake, which introduced Chan as Mr. Miyagi's protege, Mr. Han, and saw him train young Dre (Jaden Smith, who does not return here). Crucially, Legends eschews most of the training business that muddled the remake and later sequels. Here, Li is already a kung fu master with many successful fights under his belt. He needs only to learn a bit of karate, which is dispensed with in a blessedly brief montage. Instead of structuring itself like a lot of the other films in the series, with two extended acts of training followed by the grand tournament/battle, Legends operates far closer to a traditional action-thriller and is all the better for it. Director Jonathan Entwistle, who created and oversaw the clever Netflix series The End of the F***ing World and I Am Not Okay, brings a specific touch that personalizes this installment. He understands how to depict the complexities of teenagedom without alienating members of the audience who've aged out of that struggle, and his eye for small details is especially keen. There's a lovely, unobtrusive touch in which Li is found to be more of a New York 'local' than born-and-bred Mia due to his immigrant status and ability to converse with fellow expats of all stripes. But once the plot kicks in, the rapidity with which Entwistle moves through the typical beats proves both a blessing and a first two acts of Legends, up to about the 70-minute mark, are spectacularly accomplished. Li having to train Victor is a pleasing bit of subversion, and the movie vibrates with an eclectic soundtrack and an authentic, geographically accurate depiction of New York (the film was shot there, as well as in Georgia and Montreal). The entire cast does great work—Jackson turns in a particularly credible performance—and the whole thing looks terrific, with some lush set design and a warm, gauzy visual style which harks subtly back to '80s cinematography. Li's backstory, and the reason for his family's move, are harder edged than you may expect and delivered without treacle. Yet one of the movie's greatest assets—a slim, pre-end-credits running time of just under 90 minutes—is also its Achilles heel. As the film moves into its final passage, with Victor sidelined and Li having to compete in a city-wide fight competition, it loses track of itself and its and Macchio are good here, but their presence feels like an afterthought. Near the end, there are two central sequences—a fight between Han, LeRusso, and Li, and a heart-to-heart between the two karate kids—that play in montage and need much more space to breathe. One senses both would have been powerful beats if they'd been allowed to run longer, and the editing and the music were not making themselves so obvious. Brevity is a beautiful thing (Steven Soderbergh's Black Bag, from earlier this year, showed that you can make an epic in just 88 minutes), but not when it comes at the expense of fulfilling the arcs established in the first act. Legends wraps itself up in such a rush that there's a sense of disbelief come the final freeze frame. Storylines that seemed a shoo-in to provoke a tear simply vanish, drying up any emotion with it, and the final tournament feels peculiarly disconnected from the first half. The whole movie would have benefited from an extra 10 or 15 minutes added to its even with those missteps, it's hard to genuinely fault Karate Kid: Legends. This is an easy movie to like, a family-friendly adventure which does away with the modern blockbuster bloat, leaving behind CGI in favor of old-school stunts and stripping itself down to the basics. Legends is an above-average summer cinema offering which sits comfortably alongside the original Karate Kid and the best seasons of Cobra Kai. Crucially, it respects all members of its audience and will serve as a welcome entry point for younger viewers unfamiliar with the larger franchise. You will undoubtedly be reminded, in the best possible way, of '80s and '90s family adventures and sports dramas like The Goonies and The Mighty Ducks, which is no small feat. Perhaps the only thing worth saying is that, by the end, you're looking forward to the next to the Original and 'Cobra Kai,' Is 'Karate Kid: Legends' a Hit or a Miss? first appeared on Men's Journal on May 29, 2025
