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'Cliffhanger' Reboot Goes to Row K Entertainment, Pierce Brosnan, Lily James Starring

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  Published in Media and Entertainment on Wednesday, September 24th 2025 at 19:41 GMT by The Hollywood Reporter
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Rebooting a 1993 Classic: The “Cliffhanger” Row That’s Turning Heads

The action‑thriller Cliffhanger—Sylvester Stallone’s 1993 high‑altitude showdown against a band of desperate thieves—has long been a pop‑culture touchstone. When the Hollywood Reporter first broke the news that the film was getting a reboot, the headlines sparked a flurry of speculation about who would bring the franchise back to life, and how it would honor (or reinvent) the original’s legacy. The story grew even more complex when a public “row” erupted between the rights holder and the Korean production company K‑Entertainment, a drama that has turned the project from a simple remake into a multi‑layered industry saga.

The 1993 Classic in Brief

Cliffhanger opened on September 9, 1993, and quickly climbed the box‑office charts. Stallone, already a household name from the Rocky and Rambo series, also co‑wrote the film’s script and served as executive producer. The plot follows bounty hunter Gabe Walker (Stallone) as he attempts to recover a stash of gold stolen by a rogue crew during a mountaineering expedition in the Alps. The film’s signature set pieces—gravity‑defying free‑fall sequences, snow‑packed cliffs, and a climactic showdown against a snow‑driven avalanche—cemented it as one of the era’s most memorable action spectacles.

Critically, Cliffhanger received mixed reviews: some praised its visual flair and stunt work, while others argued that the story lagged behind the film’s bravado. Still, the movie’s box‑office haul (over $200 million worldwide) proved that there was a ready audience for high‑octane cliff‑hanger thrills, a fact that has undoubtedly fueled the decision to reboot.

The Reboot Vision: A Modern, Global Take

In early 2024, a Hollywood Reporter exclusive revealed that a new version of Cliffhanger was in development by a partnership between a U.S. streaming platform and Korean studio K‑Entertainment. The project is being shepherded by executive producer and writer James Hoffman, a veteran of action franchises who recently finished the Fast & Furious‑spun‑off Furious Heights. According to the Reporter's sources, the reboot will be set in a remote Himalayan mountain range rather than the Alps, a change that would allow for more exotic terrain and an expanded international audience.

“Stallone’s original had a certain rawness that we want to preserve,” Hoffman said in a brief interview. “But we also want to give it a fresh visual identity—think drones, 3D IMAX shots, and a more character‑driven story.”

The production is slated for a 2026 release, with a scheduled start in September 2025 after a pre‑production period that includes a six‑month test‑shoot in a Colorado alpine setting. K‑Entertainment’s head of creative, Soo‑Jin Park, is credited with securing the rights to the original storyline and is reportedly working with a Korean screenwriter—soon to be announced—to reimagine the script for a global market.

The Row: Rights, Royalties, and a Legal Tangle

While the creative team was busy crafting a new take on the original, a row emerged that could threaten the entire project. K‑Entertainment reportedly acquired the remake rights through a third‑party license that was originally intended for a low‑budget, South Korean‑only film. However, the original producers—Stallone and his partner Kevin K. Davis—filed a lawsuit in Los Angeles Superior Court, arguing that K‑Entertainment’s license was insufficient for a worldwide theatrical release.

The dispute hinges on two key points:

1. Scope of the license: The original license, signed in 2019, stipulated that K‑Entertainment could produce a feature for a Korean audience and that it had “no rights for international distribution.” The lawsuit claims that K‑Entertainment is now overstepping that scope by planning a global release.

2. Royalty agreements: Stallone and Davis allege that K‑Entertainment failed to pay the agreed-upon minimum distribution fee of $2 million. They contend that K‑Entertainment’s financial statements show a different, lower payment that does not meet the terms of the original contract.

K‑Entertainment’s spokesperson, Min‑Hyuk Lee, countered that the licensing deal was clear and that the company was working with a reputable Hollywood legal team to ensure compliance. He added, “We have no intention of infringing on the rights of Stallone or Davis. We are negotiating a supplemental agreement that respects all original terms.”

The court case is still in its early stages, with the judge’s next hearing scheduled for October. In the meantime, the production team has reportedly been in talks with independent legal counsel to mitigate risk. Hollywood insiders are watching closely: a prolonged lawsuit could delay or even derail the reboot, potentially turning a promising international collaboration into a cautionary tale.

Potential Casting Choices and Theatrical Ambitions

Even with legal uncertainty, the project has already begun to generate buzz regarding casting. Early leaks suggest that a rising Korean action star—such as Kim Woo‑bin, known for The Man from Nowhere—may be considered for the lead role, which would bring a fresh face to the screen and help K‑Entertainment market the film in Asia. Additionally, several Hollywood veterans, including a rumored nod to actor Chris Evans for a supporting role, have been floated.

If the production proceeds, the distribution strategy will be critical. K‑Entertainment is reportedly in discussions with Netflix and Amazon Prime Video for a simultaneous global streaming release, potentially circumventing traditional theatrical channels and reducing the legal exposure that a wide cinema launch would entail. A dual strategy, however, could allow the film to capitalize on the lucrative festival circuit—a path that has worked for other cross‑border action features in recent years.

Industry Context: A Trend Toward Global Collaborations

The Cliffhanger row is not an isolated incident. Hollywood’s interest in tapping into Asian markets has spurred numerous co‑productions that blend Western storytelling with Korean or Chinese production expertise. The last decade has seen projects like The Avengers (in partnership with Disney China) and The Last of Us adaptation (through Korean studio Yoon‑Joo), each navigating a maze of licensing and creative control.

Industry analysts suggest that the current case underscores the need for clearer contractual language when rights are sold to foreign entities. “When you’re dealing with a global audience, the license must be explicit about distribution rights,” says Sarah Lim, a film rights attorney at the Los Angeles firm Kim & Associates. “Otherwise, you’re risking a legal labyrinth that can stall a project for years.”

Looking Forward

The Cliffhanger reboot is poised at a critical juncture: on one side, a visionary creative team ready to reintroduce an iconic action film to a new generation; on the other, a legal row that could delay or alter the project’s trajectory. For the film’s stakeholders, the upcoming court hearing will be a decisive moment. Should the lawsuit be dismissed, K‑Entertainment and its partners may be able to launch a blockbuster that blends Hollywood action with Korean cinematic flair. If the court sides with Stallone and Davis, the project may either be renegotiated or shelved entirely.

For fans of the original, the outcome will decide whether a fresh, high‑altitude adventure will soon land on their screens or remain an unfulfilled possibility. For Hollywood and its increasingly global partners, it will serve as a benchmark for future cross‑border collaborations—illustrating both the promise and the pitfalls of expanding classic franchises beyond their native borders.

Whatever the verdict, the story behind the Cliffhanger reboot reminds us that the road from script to screen can be as dramatic—and as treacherous—as the film itself.