*The overall critic’s rating is not an average of the sub scores above
Story: UK Prime Minister Sam Clarke (Idris Elba) and US President Will Derringer (John Cena) are frenemies with a very public rivalry, until a deadly global threat forces them to put their egos aside and work together. When Air Force One is shot down mid-air, the duo is stranded and hunted across borders. MI6’s agent Noel Bisset (Priyanka Chopra Jonas) helps them unravel a high-stakes conspiracy before time runs out.Review: Politics turns personal and explosive in Ilya Naishuller’s slick, high-energy action comedy. Watching two world leaders—a stiff, no-nonsense British PM and a flamboyant action hero-turned-US President—bicker like schoolboys while dodging bullets and bombs is half the fun; the other half is the relentless action woven through a sharp narrative. The explosive escapade packs a layered plot, balancing Sam and Will’s personal rivalry with a high-stakes chase led by Viktor Gradov (Paddy Considine as a Russian mob boss on a vengeful warpath), and a larger conspiracy to derail global peace. Writers Josh Appelbaum, André Nemec, and Harrison Query skillfully weave these threads into a cohesive, tight-knit narrative with no loose ends. The highlight? Every action set piece delivers edge-of-the-seat thrills.As an action-comedy, the film strikes a fine balance between both genres—neither overshadowing the other. Amid the adrenaline-pumping sequences, there’s plenty of room for laughter. Much of the comedy stems from Elba and Cena’s sharp repartee, with their flawless comic timing and undeniable chemistry adding to the film’s charm.From serious fights aboard Air Force One to one on a speeding train and those on the roads to a silly skirmish with Polish punk teenagers, every action sequence is thrilling.Idris Elba nails the act of a stiff PM and former military man, just as John Cena shines as his stark opposite—an animated former action hero playing to the gallery. Priyanka Chopra Jonas adds flair as the MI6 agent—lame puns and all—shining equally in combat and performance. She is striking in every scene, from the opening sequence where her undercover team’s cover is blown to ensuring the duo stays safe from their enemies and can stop an event that would devastate world peace. Jack Quaid deserves mention as Marty Comer, a jittery but earnest government agent tasked with overseeing President Will Derringer’s security and operations. He’s not a traditional action hero but shines as the comic relief. With no dull moments and a narrative that races ahead, this is a wild diplomatic detour worth taking. Slickly executed and consistently entertaining, it hits the sweet spot between action and comedy with ease.
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.
Chow Yun-fat stars in director John Woo’s “A Better Tomorrow” in 1986.
(Cinema City)
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.
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.
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.”
A scene from the movie “Once Upon A Time In China.”
(Golden Harvest)
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.
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.
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.”
Paresh Rawal has been in the news ever since Bollywood Hungama broke the year’s viral story on May 16 that he has quit Hera Pheri 3. Consequently, Akshay Kumar sent a legal notice to the veteran actor seeking damages. But now, it has come to light that the issues have been resolved. Moreover, it has come straight from the horse’s mouth.
BREAKING: Baburao returns; Paresh Rawal reveals that Hera Pheri 3 issue has been resolved
In a podcast with Himanshu Mehta, Paresh Rawal was asked about the Hera Pheri 3 controversy. He began by saying, “There’s no controversy. I believe that when people have loved something so much, then you have to be extra careful. It is our responsibility toward the audience. The audience has given you so much adulation. You can’t take things for granted. Mehnat karke unko (film) do.”
He added, “So, I was of the opinion that sab saath mein aaye, mehnat karein. Aur kuch nahin. It is all resolved now.”
When the host re-confirmed whether all was well now, Paresh Rawal replied in the affirmative and further said, “Pehle bhi aane hi waali thi but it’s just that we had to fine-tune ourselves (laughs). After all, all of them are creative, be it Priyadarshan, Akshay or Suniel. They are friends for many, many, many years.”
How it began
On May 16, when Bollywood Hungama exclusively asked Paresh Rawal if he had quit Hera Pheri 3, he said, “Yes, it’s a fact.” As a result, Akshay Kumar’s Cape of Good Films, the producer of Hera Pheri 3, sued Paresh Rawal for Rs. 25 crores. The legal team of Akshay Kumar also gave out a statement, explaining their woes. Bollywood Hungama then revealed in another viral story that Paresh Rawal returned the signing amount of Rs 11 lakhs with 15% p.a. interest and also a little more money for stepping away from the series.
A source had told us then, “Paresh Rawal was paid Rs. 11 lakhs as a signing amount as per the term sheet. His total fees were locked at Rs. 15 crores. The term sheet mentioned that Paresh Rawal would receive the balance amount – Rs. 14.89 crores – only one month after the release of the film. The senior actor had reservations about this clause. Also, the film’s principal shoot was to commence sometime next year. This means that Hera Pheri 3 was unlikely to be released before late 2026 or in the year 2027. In short, Paresh would have had to wait for nearly two years to get the rest of his acting fees.”
Later, at Housefull 5 trailer launch, Akshay Kumar revealed, “I don’t think this is a place where I am going to talk about it because…it’s a very serious matter. It is a matter which is going to be handled by the courts. Hence, I don’t think I am going to speak about it here.”
Akshay won hearts when a journalist happened to mention that a lot of fans felt that Paresh Rawal was foolish to leave the project. On this, Akshay Kumar said, “Firstly, I’d like to tell you that using such kind of word for my co-star, ‘foolish’, is something I’d not appreciate. That’s not right. I have been working with him for the last 32 years. We are very good friends. He’s a great actor. I really admire him.”
Megan McKenna causes searches for initial necklaces to skyrocket after showing off her sweet tribute to her family whilst on her honeymoon, and we’ve found the best ones to shop
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Megan was spotted wearing the initial necklace during her honeymoon(Image: Megan McKenna/Instagram)
After sharing some snaps from her honeymoon, it seems Megan McKenna has reignited one of last year’s top trends – and it’s set to be a big one. Her sweet initial necklace featured the letters M, O and L for her, her husband Oliver and their son Landon, making it the ultimate personal tribute to her family.
Whilst personalised necklaces had a huge moment last year, it seems Megan’s adorable accessory has made them one of the most sought after pieces of jewellery once again, as searches for “personalised initial necklace” are up 140% according to jewellery brand PRYA. And if you want to copy Megan’s meaningful look, we’ve found some great options to shop.
The PRYA necklace lets you add full names to your chain(Image: PRYA )
If a simple initial isn’t enough, PRYA’s multi-name necklace is ideal. Available in gold, silver and rose gold, you can choose up to four names to be displayed around the dainty chain. A similar style was worn by Coleen Rooney during her stint in the I’m A Celebrity jungle, making it a guaranteed winner for getting the celeb look on a budget. You also get a choice of chain styles and lengths, allowing you to create the perfect necklace to suit your personal style.
Oak and Luna’s necklace most closely resembles Megan’s (Image: Oak and Luna)
If the simplicity of Megan’s initial necklace was what really caught your eye, however, then this Inez necklace from Oak and Luna is a great lookalike. You can get it in sterling silver, 18k gold plating, 18k gold vermeil or rose gold vermeil with prices to suit all budgets, and you can even upgrade with a diamond if you want to add some sparkle. Choose anything from one to eight different initials and customise your chain length, making it easy to personalise.
Aboot Lyon lets you add a birthstone charm to your necklace(Image: Abbott Lyon)
Add something a little extra to your unique necklace with this Abbott Lyon one, which allows you to choose two initials as well as a birthstone which sits in the middle of the letters. You can pick different types of chain, as well as choose the front you want to give you plenty of customisable options. Available in tarnish-free gold, silver and rose gold, it’s the perfect minimalist necklace to add to your collection.
Kannappa Movie Review Synopsis: KANNAPPAis the story of valour and belief. The film is set in the 2nd century. Thinnadu (Vishnu Manchu) lives in a hamlet, ruled by his father Nathanatha (R Sarath Kumar). As a child, Thinnadu lost interest in God after his friend was sacrificed to stop an illness from plaguing the village. One day, while he is on a hunting expedition, Thinnadu comes across Nemali (Preity Mukhundhan). She belongs to the neighbouring tribe and falls for her. She too falls in love with him despite the fact that she is a staunch Lord Shiva devotee. Meanwhile, a dreaded warrior, Kalamukha (Arpit Ranka) sends his brother and some soldiers to Vayulingam with bad intentions. The brother and the soldiers attempt to kidnap and violate the women of Thinnadu’s helmet. Thinnadu kills them. Before dying, the brother warns that his brother will arrive with his army of one lakh people and attack his hamlet and also the neighbouring villages. Nathanatha summons the chiefs of the nearby hamlets in the forest and asks them to put aside their differences and unite for a common cause. Thinnadu is chosen to lead the alliance. But his non-religious beliefs create a dent. What happens next forms the rest of the film.
Kannappa Movie Story Review: Vishnu Manchu’s story has its roots in mythology. Vishnu Manchu’s screenplay is stretched and inconsistent. But overall, it works especially due to the climax. Akella Shiva Prasad’s dialogues are deep and easy to decipher.
Mukesh Kumar Singh’s direction is simple and mass-appealing. The characters are well introduced and the conflict has substance. Moreover, the transformation of the protagonist from an atheist to a true devotee is heartening and more importantly, convincing. The various cameos further add to the appeal and also star value. The director, however, reserves the best for the climax. The last 15 minutes is when the film reaches dizzying heights and will give goosebumps.
On the flipside, the film has a run time of 181 minutes and hence, it’s too lengthy. Ideally, it should have been shorter by 15 minutes. The film doesn’t follow the conventional approach. The villain track culminates earlier than expected. As a result, one might wonder in the second half where the film is heading. The first half is just alright and the romance track before the intermission gives a strong déjà vu of Prabhas-Tamannaah Bhatia track in BAAHUBALI [2015].
Kannappa Movie Review Performances: Vishnu Manchu puts his heart and soul into the character and delivers a very impressive performance. Akshay Kumar is the divine surprise of the film. As Lord Shiva, he’s flawless. Hindi-speaking audiences will be proud to see an actor from their market being given such a role to essay that too by South makers. The makers could have chosen any actor from the South industries for it but they went ahead with Akshay and that speaks volumes. Prabhas (Rudra) comes next and makes his presence felt. Mohanlal(Kirata) and Mohan Babu (Mahadev Shastri) lend able support. Kajal Aggarwal (Parvati) gets into the skin of her character. Preity Mukhundhan looks stunning and delivers a worthy performance. It’s a performance that will surely get her noticed. R Sarath Kumar is impressive. Arpit Ranka and Lavi Pajni (Bebbuli) are over the top. Brahmanandam (Pilaka) is wasted. Aiswaryaa Bhaskaran (Maremma) has a tremendous screen presence while Mukesh Rishi (Kampa) is decent. Madhoo (Pannaga) puts her best foot forward but gets sidelined after a point.
Kannappa movie music and other technical aspects: The romantic songs fail to entice. ‘Om Namah Shivaya’ is exhilarating while ‘Shiva Shiva Shankaraa’ is well picturized. It also comes at a crucial juncture. Stephen Devassy’s background score has a cinematic appeal.
Sheldon Chau’s cinematography is breathtaking. The locales of New Zealand are well captured. In a few scenes, one does get a feeling that the shooting location is not based in India. Nevertheless, it works as it is unlike one has seen in any Indian film in a long time. Chinna’s production design is authentic while Ajay’s costumes are appropriate. Kecha Khamphakdee’s action is not too gory. The VFX is fine overall, although it could have been a bit classier in some scenes. Anthony Gonsalves’s editing is slugging in places.
Kannappa Movie Review Conclusion: On the whole, KANNAPPA triumphs largely due to its mythological appeal and a goosebumps-inducing final 20 minutes. The lead performances are exemplary, with Akshay Kumar standing out as one of the film’s biggest strengths. His impactful presence as a prominent North Indian actor in a South-led ensemble is sure to evoke a sense of pride among Hindi-speaking audiences. While the film’s lengthy runtime and the relatively low pre-release buzz in the Hindi belt are minor drawbacks, the film holds the potential to surprise, provided it garners strong word of mouth.
