‘Cliffhanger’ Reboot Nears Neon Deal After Row K Collapse as $100M-Budgeted Thriller Tests Strong

In March 2026, we learned distributor Row K had major financial issues and was unable to pay its bills. A Variety article cited eight employees who described a cataclysmic atmosphere internally, punctuated by calls — or outright threats — of lawsuits from angry creditors. As a result, several projects were suspended, including Maude Apatow’s “Poetic License” and the “Cliffhanger” reboot.

Acquired for around $9M, “Cliffhanger” may now have been saved by Neon. The indie studio is reportedly well on track to secure the contract, with Row K still involved in some capacity.

This acquisition would be an ideal opportunity to give a boost to the Decal label recently launched by Neon. Before its legal troubles, Row K had planned to release “Cliffhanger” this coming August 2026 on 3,000 screens in the United States. Discussions are reportedly underway to shift the release date to the first quarter of 2027. However, StudioCanal, which owns the French rights, might still stick with the August 26 release date this year.

What I will say is that “Cliffhanger” has actually been testing very well, and Neon probably noticed that — they clearly see potential in the film. Which, if you can believe it, carries a $100M budget. That is quite a steep price for a movie without major stars — unless Lily James and Pierce Brosnan fit your fancy — and one that is nowhere near guaranteed to succeed.

“Cliffhanger” was primarily financed through independent production funding, combining international pre-sales and private investment rather than a traditional studio deal. The project was developed by producers including Neal H. Moritz, with sales handled via CAA Media Finance, which marketed distribution rights territory by territory in order to secure upfront financing.

Based on a story by Ana Lily Amirpour (“A Girl Walks Home Alone at Night”), the film has been described as a father-daughter spin on “Die Hard.” Amirpour only boarded the project after Sylvester Stallone — star of the original film, and initially set to return for this installment — abruptly exited weeks before production was scheduled to begin, reportedly due to “creative differences.” The entire project was subsequently revamped: Amirpour came aboard, James and Brosnan were cast, and here we are with this $100M reboot, remake, or whatever you want to call it.

It should also be noted that Jaume Collet-Serra directed the film. He is one of the more fascinating mainstream filmmakers working today — not because he has directed plenty of great films (he hasn’t), but because of how often he jumps between genres, sometimes with surprisingly decent results. He is, in many ways, a master of elevated mediocrity. The Spanish-born filmmaker directed some of Liam Neeson’s better action movies, including “Non-Stop,” “Run All Night,” “The Commuter,” and “Unknown.” He is also, unfortunately, responsible for “Black Adam,” “Jungle Cruise,” and “House of Wax” (the Paris Hilton remake). You can’t win ’em all.