The biggest movies coming your way in 2023 

‘Guardians of the Galaxy Vol 3’ is directed by James Gunn. (Supplied)
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Updated 14 January 2023
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The biggest movies coming your way in 2023 

‘Guardians of the Galaxy Vol 3’ 

 

 

Director: James Gunn 

Starring: Chris Pratt, Zoe Saldana, Dave Bautista, Karen Gillan 

The pop-culture behemoth that is the Marvel Cinematic Universe shows no signs of slowing its momentum in 2023, with five releases planned throughout the year, including a new outing for Ant Man and the Wasp, as well as another ensemble effort with “Captain Marvel” sequel “The Marvels.” Top of our list, though, is the return of the lovable rogues known as the Guardians of the Galaxy, led by Star Lord/Peter Quill (Chris Pratt). Last time out, the Guardians managed to purchase Knowhere, with the intention of turning into their headquarters and a safe haven for alien refugees. Details are sketchy, but the plot will reportedly involved the team having to embark on a risky mission to save one of their members. And probably the universe too. James Gunn directs (as he has the two previous “Guardians” movies). There are rumors that Rocket — the racoon bounty hunter — will have a love interest introduced: Lylla the otter. 

‘The Flash’ 

Director: Andy Muschietti 

Starring: Ezra Miller, Ron Livingston, Michael Keaton, Kiersey Clemons 

Marvel’s superhero rivals DC, meanwhile, are pinning their hopes on a couple of major new releases including Jason Momoa reprising his titular role in “Aquaman and the Lost Kingdom,” and this movie about the swiftest superhero alive. Given the controversies currently swirling around lead actor Ezra Miller, DC will be hoping the old cliché about no publicity being bad publicity holds true and that the film isn’t DOA at the box office. Argentinian director Andy Muschietti, who helmed the “It” film series, has been tasked with running the show. Inspired by the comic book storyline “Flashpoint,” the movie sees Barry Allen/The Flash travel through time in an attempt to prevent his mother’s murder. Time travel, as you’d think the allegedly “highly intelligent” Allen would know, turns out to be a tricky affair, with a lot of unforeseen consequences. One of the good ones being that we get to see multiple versions of Batman, with both Ben Affleck and Michael Keaton reprising their versions of the Caped Crusader. 

‘Barbie’ 

 

 

Director: Greta Gerwig 

Starring: Margot Robbie, Ryan Gosling, Will Ferrell, Simu Liu 

Yes, a movie about the iconic Mattel doll — which has, over the years, become a symbol of society’s unrealistic ideals for women’s bodies — sounds like a terrible idea. But. This particular movie that sounds like a terrible idea is co-written by Noah Baumbach (“Marriage Story”) and Greta Gerwig (“Lady Bird”), who also directs. And it stars two of Hollywood’s brightest stars, Robbie and Gosling, as Barbie and Ken. Expect plenty of ironic humor, then. Suddenly, it starts to sound as though — despite the horribly cynical marketing scheme that undoubtedly got the film funded — this could be a lot of fun.  

‘The Super Mario Bros. Movie’ 

 

 

Directors: Aaron Horvath, Michael Jelenic 

Voice cast: Chris Pratt, Anya Taylor-Joy, Charlie Day, Jack Black 

It’s taken Nintendo a while to get over the disastrous 1993 film “Super Mario Bros.” Thirty years on, the Japanese video game giant has finally handed another license to Hollywood, this time for an animated adventure comedy with a stellar voice cast, based on its iconic games about two Italian brothers who are plumbers. Horvath and Jelenic’s pedigree as creators of the often-brilliant “Teen Titans Go!” bodes well for the movie. Apparently, not even the actors were privy to the full plot, so the story remains unknown, but it’s reasonable to expect it will involve Mario and Luigi having to rescue Princess Peach from some kind of labyrinth. May be worth seeing just to judge Chris Pratt’s accent for yourself. 

‘John Wick: Chapter 4’ 

 

 

Director: Chad Stahelski 

Starring: Keanu Reeves, Donnie Yen, Bill Skarsgard, Laurence Fishburne 

The first three instalments in the “John Wick” film series have all excelled at giving audiences adrenaline-rush fight scenes with minimal (by today’s standards) special effects, so we’re excited to see what new surprises Stahelski has in store in number four. Reeves returns as the less-than-talkative legendary assassin desperately trying to retire and be left in peace. But the shadowy organization that oversees the contract killers our anti-hero was once the best of won’t let him. Now, Wick believes he has found a way to defeat the High Table once and for all. But the path to his escape has many obstacles, including a well-connected new enemy, and old friends now turned foes. 

‘Spider-Man: Across the Spider-Verse’ 

 

 

Directors: Joaquim Dos Santos, Kemp Powers, Justin K. Thompson 

Voice cast: Shameik Moore, Hailee Steinfeld, Jake Johnson, Issa Rae 

Anticipation is sky-high for this sequel to 2018’s animated hit “Spider-Man: Into the Spider-Verse.” Its predecessor was a superb, thrilling, funny journey into alternate universes that introduced us to a host of different incarnations of Spider-Man, including, of course, Brooklyn teen Miles Morales. In this follow-up, Morales and his love interest Gwen Stacy (the Spider-Woman of her universe) team up to take on a new foe who threatens the lives of all Spider-People. They are helped by the Spider-Force team, who include a British punk version of Spider-Man, and a pregnant version of Spider-Woman. 

‘Indiana Jones and the Dial of Destiny’ 

 

 

Director: James Mangold 

Starring: Harrison Ford, Phoebe Waller Bridge, Mads Mikkelsen, Antonio Banderas 

Okay, so Steven Spielberg isn’t directing it, and George Lucas didn’t write it, but it’s still Indiana Jones (and the pair are both executive producers). The film is set in 1969 and finds an ageing Dr. Jones searching for the titular object alongside his goddaughter Helena (Waller-Bridge). Jones is also wary of the former Nazis working with the US government to take on the Soviet Union in the space race, particularly the sinister Jurgen Voller (Mikkelsen). 

‘Mission: Impossible — Dead Reckoning Part One’ 

Director: Christopher McQuarrie 

Starring: Tom Cruise, Ving Rhames, Simon Pegg, Rebecca Ferguson 

The COVID-19 pandemic played havoc with its schedule, but the seventh instalment of the “Mission: Impossible” franchise is finally with us. Cruise is now 60, but continues to pull off many of his own stunts including the spectacular motorcycle-dismount-into-parachute-jump seen in the trailer. Esai Morales is the as-yet-unnamed main villain of the piece. Details have been kept under wraps, but it’s a fair bet Cruise’s special agent Ethan Hunt and his IMF team will still have members of The Syndicate/The Apostles to deal with, despite defeating their leader, and we know that Vanessa Kirby is returning as arms dealer Alanna Mitsopolis.  

‘Dune: Part Two’ 

 

 

Director: Denis Villeneuve 

Starring: Timothee Chalamet, Rebecca Ferguson, Josh Brolin, Zendaya 

Frank Herbert’s “Dune” novels were long considered ‘un-filmable,’ but Villeneuve disproved that theory with 2021’s “Part One,” marrying Herbert’s vision with his own to create a superb sci-fi epic. Part two will see Chalamet’s Paul Atreides seek revenge against those who wiped out his family, with some help from the Chani and his new allies, the Fremen. Along the way, he must somehow prevent the nightmarish future that he has foreseen. 

‘The Hunger Games: The Ballad of Songbirds and Snakes’ 

 

 

Director: Francis Lawrence 

Starring: Tom Blyth, Rachel Zegler, Hunter Schafer, Jason Schwartzman 

Just over a decade ago, the first “Hunger Games” film propelled Jennifer Lawrence into mainstream stardom and cemented Suzanne Collins’ novels as bona-fide cultural phenomena. “The Ballad of Songbirds and Snakes” takes us back into that dystopian universe, but serves as a prequel to the four films released so far. Blyth stars as a young Coriolanus Snow (the future president of Panem and villain of the previous movies), who is serving as a mentor for the upcoming Hunger Games and forms a bond with the tribute from District 12: Lucy Gray Baird. Expect revelations about what happened to turn Snow into the monster he would become. 


U2’s Bono calls for Israel to be ‘released’ from Netanyahu

Updated 23 May 2025
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U2’s Bono calls for Israel to be ‘released’ from Netanyahu

  • Singer tells country to shun ‘far-right fundamentalists that twist your sacred texts’
  • Calls for protection of aid workers: ‘They’re the best of us’

LONDON: U2 singer Bono has called for Israel to be “released from (Prime Minister) Benjamin Netanyahu and far-right fundamentalists.” 

The Irish musician made the statement at the Ivor Novello Awards, and called on Hamas to release all remaining hostages still being held in Gaza.

At the ceremony in London on Thursday, the singer said: “Peace creates possibilities in the most intractable situations. Lord knows there’s a few of them out there right now. 

“Hamas: Release the hostages. Stop the war. Israel: Be released from Benjamin Netanyahu and far-right fundamentalists that twist your sacred texts. All of you protect our aid workers, they’re the best of us.”

U2, who were at the ceremony to be honored with an Academy Fellowship, then performed their song “Bloody Sunday,” which references the massacre of peaceful protesters by British troops in Londonderry, Northern Ireland, in 1972.

It is the first time that Bono, who received the Peace Summit Award at the 2008 Nobel Peace Laureates Summit, has spoken publicly about Netanyahu since the outbreak of the Gaza war in October 2023.

His words coincided with criticism of the prime minister by a number of Western leaders over Israel’s approach to the war, with international bodies warning that Gaza faces famine following an 11-week blockade on aid entering the Palestinian enclave.


Kneecap say Glastonbury slot at risk after terrorism charge

Updated 23 May 2025
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Kneecap say Glastonbury slot at risk after terrorism charge

  • Group member scheduled to appear in court on June 18

DUBAI: The Irish rap group Kneecap said this week that efforts are ongoing to block their appearance at Glastonbury this summer, following a surprise show held just one day after one of their members was charged with a terrorism-related offence.

During their performance at London’s 100 Club on Thursday night, the trio said they were being made a “scapegoat” because they “spoke about the genocide (in Gaza)” at Coachella in April.

Group member Liam Og O Hannaidh was charged on Wednesday with a terrorism offence for allegedly displaying a flag in support of Hezbollah at a gig in London in November 2024. The rapper performs under the stage name Mo Chara and he is scheduled to appear at Westminster Magistrates’ Court in London on June 18.

The police force’s counter-terrorism command was made aware on April 22 of an online video from the event and then carried out an investigation. After that, the Crown Prosecution Service authorized the charge. 

The group posted on social media and said in a statement: “We deny this ‘offence’ and will vehemently defend ourselves. This is political policing. This is a carnival of distraction.”

They added: “14,000 babies are about to die of starvation in Gaza, with food sent by the world sitting on the other side of a wall, and once again the British establishment is focused on us.

“This is a carnival of distraction. We are not the story, genocide is.”

Hours after the charge was filed, Kneecap announced a last-minute gig that reportedly sold out in 90 seconds, with 2,000 people on the waiting list. 

Chara took to the stage at 9 p.m. with tape over his mouth in a symbolic protest. He suggested the timing of the charge was deliberate, saying it came just ahead of their scheduled Glastonbury appearance.

He said: “There’s a reason why what’s happened to me happened before Glastonbury. There’s a reason they’re trying to … stop me speaking at Glastonbury in front of the UK.”


Fashion trailblazers honored at Riyadh awards

Updated 23 May 2025
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Fashion trailblazers honored at Riyadh awards

  • Saudi Fashion Awards spotlight innovators and local talent
  • Women’s Wear Daily collaborates to honor Saudi creatives

RIYADH: Women’s Wear Daily, in collaboration with the Saudi Fashion Commission, honored several creatives at an awards ceremony in Riyadh on Thursday.

(AN: Huda Bashatah)

Alessandro Sartori, artistic director of Zegna, was named International Designer of the Year, while Matteo Tamburini, creative director of Tod’s, received the International Brand of the Year award.

Patrick Ta, founder of Patrick Ta Beauty, was named International Beauty Innovator of the Year, and Glow Recipe was awarded International Beauty Brand of the Year.

(AN: Huda Bashatah)

Additional awards presented by the Saudi Fashion Commission celebrated the achievements of several Saudi Arabia brands and individuals.

Rawan Kattoa was named Fashion Stylist of the Year, Rayyan Nawawi received the Fashion Photographer of the Year award, and KML was recognized as Menswear Brand of the Year.

(AN: Huda Bashatah)

In addition, Abadia was named Womenswear Brand of the Year,  Charmaleena as Jewelry Brand of the Year, and the Elite Model Honorary Award for Model of the Year went to Talida Tamer.

The judging panel included industry leaders Law Roach, Amanda Smith, Burak Cakmak, Xavier Romatet, Mohammed Aldabbageh, and Mai Badr.

(AN: Huda Bashatah)

In her acceptance speech, Kattoa said: “This award means so much to me. It represents a journey that started as a freelancer ... I want to thank my husband for his support, my parents for their inspiration, and all the creatives who made this possible.”

Ahmad Hassan, co-founder of KML, said: “This is such an award for the first time ... It means the world to us. Being recognized in our home country makes this achievement even more special.”

(AN: Huda Bashatah)

“We were born and raised here, and to have our work celebrated in Riyadh is a dream come true. This award inspires us to push boundaries and innovate in our designs,” he added.

Reflecting on the evolving fashion scene, Hassan said: “Events like this showcase the incredible talent we have in Saudi Arabia. It encourages us to keep creating and to elevate our craft.”

“We are committed to telling our story through fashion and contributing to this vibrant industry,” he added.


REVIEW: ‘Lilo and Stitch’ returns with heart, hula and a whole lot of charm

Updated 23 May 2025
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REVIEW: ‘Lilo and Stitch’ returns with heart, hula and a whole lot of charm

  • Homage to 2002 classic while vibrantly fresh
  • Maia Kealoha, 8, playing Lilo steals the show

DUBAI: The new “Lilo & Stitch” reboot honors the 2002 classic while giving it a vibrant look and feel for a new generation.

With stunning animation, amazing casting, and a deep sense of nostalgia, the film strikes an emotional chord from the opening frame.

With the original film being one of the most beloved Disney classics, there was a lot of pressure riding on this remake, especially considering the inconsistency in the latest Disney productions.

Visually, the animation is outstandingly expressive.

The Hawaiian landscapes practically glow and the redesigns of Stitch and his alien companions retain their mischievous charm, even with the updated disguises for Jumba Pleakley.

Although many were not happy with these changes, I personally loved the scene of them learning how to walk as humans.

The emotional core of the film, however, remains unchanged: the powerful bond between sisters Lilo and Nani.

Their dynamic is portrayed with warmth and honesty, balancing cheeky sibling rivalry moments with sincere, tender ones.

The comedic timing is spot-on throughout the movie but is not overdone to the point where it becomes cringey.

Casting is another major win.

The new ensemble delivers energy and heart, with the debuting young actress, Maia Kealoha, 8, playing Lilo stealing the show. She captures Lilo’s quirky spirit, fiery independence and emotional depth perfectly.

While longtime fans may note a few subtle updates to the characters and plot, the film stays true to its core message of family, belonging, and unconditional love.

The film really tugs at the heart strings and may even leave one teary-eyed at some points.

Reintroducing the beloved story to a new generation, “Lilo and Stitch” is a must-watch this summer.


‘An architecture of connection’ — inside the Saudi pavilion at Venice

Updated 23 May 2025
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‘An architecture of connection’ — inside the Saudi pavilion at Venice

  • Sara Alissa and Nojoud Alsudairi discuss their work for this year’s Venice Architecture Biennale 

VENICE: “The embroidery that you see is what remains of the vernacular fabric in central Riyadh,” says Sara Alissa, one half of Syn Architects, a small, research-focused practice founded by Alissa and Nojoud Alsudairi in 2019. “What’s interesting is, when people enter and they understand what is embroidered, they are either taken aback by how much remains, or how little.” 

Alissa is sitting on a long sculptural table occupying the central axis of the National Pavilion of Saudi Arabia. It’s the second day of previews at the Venice Architecture Biennale, and all eyes are on “The Um Slaim School: An Architecture of Connection.” Running until Nov. 23 and commissioned by the Ministry of Culture’s Architecture and Design Commission, the exhibition is a moment of truth for Alissa and Alsudairi, who have dedicated their careers to ecologically sensitive architectural design. 

Caption

Conceived as a living archive and a hub for communal gathering, the pavilion showcases the work of the Um Slaim Collective — a research, exhibition, and workshop space founded by Syn Architects in 2021. Dedicated to studying the displacement of Najdi architecture in central Riyadh, the collective — or lab — is a physical manifestation of the practice’s research, drawing on local architectural theories, creative practices, and environmental histories to examine the impact of rapid urban expansion on central Riyadh. It is, says Alsudairi, who could not make it to Venice, a grassroots attempt to collect history, data, and research in order to rethink both urban spaces and neighborhood communities.  

In essence, the pavilion is an evolution of the duo’s work and acts as a launchpad for The Um Slaim School — a propositional pedagogical platform that builds on the work of both Syn Architects and the Um Slaim Collective. As such, it is a re-evaluation of the role of architects within a city like Riyadh and introduces a new model for architectural education in Saudi Arabia, one that merges historical insight with contemporary practice to create shared spaces for learning, making, and cultural exchange. 

 The National Pavilion of Saudi Arabia at the Venice Architecture Biennale. (Courtesy of the Architecture and Design Commission)

“It’s a more refined lab than we have in Riyadh,” says Alissa of the pavilion, which has been curated by Beatrice Leanza with assistance from the Saudi interdisciplinary artist and curator Sara Almutlaq. “We don’t know what’s going to happen, but we wanted to put forth something in Venice that we could benefit from after and not something that gets discarded right after the exhibition closes. We also wanted to create an experience and a feeling that people can leave with.”  

Alissa is sitting in a ‘building within a building.’ Located in the Arsenale — one of the biennale’s two main venues — the pavilion’s exhibition features four rows of scaffolding wrapped in layered textiles. These textiles, embroidered with maps featuring the nine districts of central Riyadh and various drawings, are interspersed with film, writing, and photography, all of which explore the stories and relationships woven into the architectural fabric of Riyadh. The exhibition includes an immersive sound installation created by Mohammed Alhamdan, which layers urban recordings of Riyadh, the city’s construction, and traditional builders’ chants.  

Um Slaim Neighborhood, in Riyadh in 2021. (Courtesy Syn Architects)

Alhamdan’s installation is one of three new commissions integrated into the exhibition. Set into one of the scaffolding walls is Saudi artist Maha Malluh’s “Tamwenat Addirah,” which explores the identity of the Um Slaim neighborhood through collected market items. Elsewhere, the photography of Laurian Ghinițoiu documents the ritualized rhythms of daily life. Alongside these, the photography of Mansour Alsofi captures modernist and postmodernist buildings in the city, while historical photographs and archival books chart its urban and architectural development. All of the artists and photographers have previously collaborated with Syn Architects.  

Ephemeral in nature, the space highlights some of the projects and interventions carried out by Syn Architects over the past five years, including the Shamalat Cultural Centre, an old mud building on the edge of Diriyah, which was converted into a cultural hub by Malluh and renovated by the architects in 2022. For their reimagining of the traditional mud house through restoration and addition, Alissa and Alsudairi were recently awarded the Moira Gemmill Prize for Emerging Architecture. 

(Courtesy of the Architecture and Design Commission, the Commissioner for the National Pavilion of Saudi Arabia)

“When Nojoud and I started our practice, we felt a responsibility,” says Alissa. “We’re young Saudi architects working in the city and we wanted to create, or help create, this contemporary architectural language within the country. We felt the need to really explore our historical built fabric, but also the values embedded within it. We are advocating for restoration in a physical sense, but also in an intangible sense, where we restore the successful values associated with Najdi architecture.” 

The duo’s work inhabits the metaphorical space between the building and the scaffold, says Alsudairi, and seeks to challenge both neglect and over-romanticization — reviving vernacular structures not as relics or ruins, but as functional, living elements within the urban fabric. It also examines the ways in which cultural preservation and contemporary design can coexist. In doing so, their goal is to restore knowledge, to preserve, and ultimately to share what they have learned.  

(Courtesy of the Architecture and Design Commission, the Commissioner for the National Pavilion of Saudi Arabia)

“We didn’t want to depart from the core work we’ve been doing with the Um Slaim Collective, so we chose to build on that,” explains Alsudairi. “We saw it as a valuable opportunity to expand the collective’s knowledge-sharing focus and move toward something more permanent. Right now, the school is a propositional project, but imagine the value of creating a school that is truly site-specific, in the sense that it doesn’t import knowledge, but grows from its own context.” 

It has been an overwhelming few months for the young studio, which has been catapulted into the spotlight since the announcement of the Saudi pavilion in early February.   

“Before we came to Venice, I was telling my daughter I’d be away for the biennale,” says Alissa. “She’s seven, she’s aware, and she kind of understands what we’re doing. And she was saying, ‘Oh, I hope you win in Venice.’ I’m like, ‘It’s not about winning.’ And then she sends me a message, saying, ‘I don’t care if you win. I’m just happy that you’re doing what you’re doing.’ It was so sweet.  

(Courtesy of the Architecture and Design Commission, the Commissioner for the National Pavilion of Saudi Arabia)

“Sometimes we feel very overwhelmed and unsure if we even want to continue because of how difficult things are. But then we have these moments — whether from our children, from people around us, or from each other. I think it’s something we rarely say out loud, but having a partner to go through it all with is really key.” 

Running alongside the exhibition is a complementary program of laboratorial and public sessions led by Leanza and supported by the Bahraini architect, researcher, and photographer Maryam AlNoaimi. It includes lectures, workshops, performances, screenings, readings, and walks that seek to foster dialogue on how architecture influences education and community-based practice. 

“I would be lying if I said we have an exact plan of where we’re going, because we didn’t have this in our plan,” says Alissa. “We definitely had an aspiration to do the Biennale, but never for this kind of duration. As long as we keep learning along the way, I think the objective is to plant the seed with this propositional school and see where it takes us.”