Kathryn Bigelow’s ‘A House of Dynamite’ is a damp squib

Kathryn Bigelow’s ‘A House of Dynamite’ is a damp squib
Rebecca Ferguson in 'A House of Dynamite.' (Netflix)
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Updated 12 sec ago

Kathryn Bigelow’s ‘A House of Dynamite’ is a damp squib

Kathryn Bigelow’s ‘A House of Dynamite’ is a damp squib

DUBAI: It looked so good on paper. A nuclear war-themed thriller with a script from award-winning screenwriter Noah Oppenheim, directed by Oscar-winning filmmaker Kathryn Bigelow, and starring a handful of excellent actors including Rebecca Ferguson, Idris Elba, Jared Harris and Gabriel Basso.

And for the first 20 minutes or so, “A House of Dynamite” delivers. We meet Captain Olivia Walker (Ferguson), the oversight officer for the White House Situation Room, on her way to work, where she’s informed of several significant geopolitical developments involving — separately — China, Iran, and North Korea. Then the US early-warning radar system detects an unidentified intercontinental ballistic missile (i.e. a missile with the capability to carry a nuclear warhead a very long way) already in flight (it missed the launch point, so no one knows who’s responsible for firing it) over the Pacific. At first, it’s assumed to be a routine test by North Korea, so no one really panics. But when the ICBM enters low orbit, and they figure out its likeliest destination will be Chicago, everyone really panics. With less than 20 minutes until impact, there are some horrifying decisions to be made, particularly when the two ground-based interceptors launched to intercept the ICBM fail to do so.

As the countdown to impact heads ever closer, a wave of resignation hits. Those on the video conference call between the Situation Room, the Pentagon, and various armed forces commanders await the decision of the president (Elba) on how to respond to what now seems very likely to be a nuclear attack on the US that will cause tens of millions to die. But with no real knowledge of who’s responsible (both Russia and China deny involvement), can he really decide to launch a nuclear attack of his own to avoid looking weak and inviting further aggression?

We don’t find out because, just before impact, the film jumps back 20 minutes to replay the scene from some different people’s perspectives, including Secretary of Defense Reid Baker (Harris), with snatches of dialogue from previous sections now making more sense as we catch the other ends of the conversations. Twenty minutes later, we do the same again, switching to the perspectives of the president and his entourage. Neat trick. But worth building a movie around?

The story is gripping and terrifying — at least the first time around (it’s hard to get quite as invested once you know what does or doesn’t happen). But because of the limited screen time, none of the excellent cast has a chance to go beyond Acting 101. It all makes for an odd viewing experience; one in which, despite the incredibly high stakes, it feels like there’s no real jeopardy.

In the end, “A House of Dynamite” is — much like America’s missile defense system as portrayed here — an expensive waste of time.


Saudi author Faisal G. Binzagr: ‘I always believed I would be a writer’ 

Saudi author Faisal G. Binzagr: ‘I always believed I would be a writer’ 
Updated 55 sec ago

Saudi author Faisal G. Binzagr: ‘I always believed I would be a writer’ 

Saudi author Faisal G. Binzagr: ‘I always believed I would be a writer’ 
  • The Saudi author is featured in the recently released horror anthology ‘Arabian Nightmares’  

RIYADH: Saudi author Faisal G. Binzagr is among the writers featured in the recently published “Arabian Nightmares,” billed as the first English-language anthology of horror shorts by Arab writers. The project — spearheaded by Lebanese author Daniel Habib and crowd-funded via Kickstarter — brings together a diverse mix of regional voices exploring fear and folklore from an Arab perspective. Binzagr learned about the anthology in 2023 from fellow Saudi author Maram Taibah. 

“Daniel wanted to create the first anthology of horror shorts written by Arab authors. Apparently that’s never been done before and he was shocked by that, so he was, like, ‘Let’s do it!’ It was a great opportunity and I was very happy to be a part of it,” Binzagr tells Arab News. 

His contribution, “The Great Work of Dr Quqazi; or, The Bell,” combines classic horror with distinctly Saudi textures and references — local rituals, internal conflict and the tensions that ripple through families. 

The cover of the horror anthology 'Arabian Nightmares.' (Supplied)

The synopsis on Kickstarter reads: “Smothered by his conservative parents, an aspirational young Saudi teeters on the brink of depression. He turns to his uncle — a man of wisdom and science — seeking treatment, but soon begins to suspect his methods lie at the intersection of science, alchemy… and the occult.” 

It draws some inspiration from Mary Shelley’s “Frankenstein” and Robert Louis Stevenson’s “Strange Case of Dr Jekyll and Mr Hyde,” yet remains firmly rooted in the Saudi imagination. 

Binzagr grew up in a creative family in Jeddah; the late pioneering Saudi artist Safeya Binzagr was among his relatives. And even as a child, Binzagr experimented with stories that blurred the boundaries between imagination and reality. “I was born writing,” he says. “I think I was around two when I started drawing different stories on paper and having my mom write down what I would dictate to her.” 

His American mother, a teacher, encouraged him to think beyond sketches, and toward narrative. 

The poster for Faisal Binzagr's short play 'Arabian Gothic,' performed at Ithra in 2021. (Supplied)

 “There is one pivotal moment in my writing journey that happened when I was around six or seven,” he says, recalling how the cover of Stephen King’s 1981 horror novel, “Cujo,” which features a rabid dog, prompted him to invent his own wild stories about dangerous animals. 

“I remember showing the (stories) to my mom. She was like, ‘No, you have to add narrative around this, some cause and effect, some characters.’ 

“In the moment, I was super defensive about it,” he continues, but after letting it “percolate” he realized she was right. “And from that point on, I paid more attention to character and theme — not theme explicitly … I was a kid, I didn’t know what ‘theme’ was — but sort of ‘What is the story behind the story?’” 

Binzagri wrote his first novel when he was 10 — a story about war, something he was proud to show his maternal grandfather, a US veteran who served in WWII. His entire family applauded his attempt and he hasn’t really stopped crafting stories since. 

Though not solely a horror writer, Binzagr’s work often leans into the eerie, the psychological, and the morally complex, meaning that many people associate him with the genre. “It’s funny to me that I have this reputation in the creative sphere here as being a horror writer, because, actually, this was my first horror story,” Binzagr says. 

“The Great Work of Dr Quqazi; or, The Bell” is another significant step in the author’s lifelong journey.  

“As a kid, I always believed I would be a writer. When I went to university (in the UK), and I started to appreciate the realities of the world, it became clear to me that success in writing is something very difficult to achieve,” he says. “Now my ambitions and strategy are more of a slow burn. I usually find time to write on the weekend or after work — right now it’s a lot slower with my day job, but I’m still chipping away at it.” 

To illustrate that “slow burn” approach, Binzagr cites a story he began in 2019 about the reconciliation of different cultural backgrounds, drawing inspiration from his own American and Saudi heritage. One section involving a character’s son served mainly as a plot device, rather than something drawn from experience. It wasn’t until a couple of years later that the story truly began to take shape and feel personal. 

“The minute my son was born, my whole perspective on that story changed because it became clear to me that this story, from beginning to end, could actually be about fatherhood,” he says. 

Becoming a parent has opened a new chapter in his life, too. Scenes that once explored speculative horror now carry the weight of care and responsibility. His son — now around 18 months old — has reshaped his storytelling lens. His writing style is still deliberate and provocative, but with a tinge of hope. 

“I’m very happy (in life) and I hope that my writing — despite the visceral, intense angles — can facilitate happiness in others, as well,” he says. 


Where We Are Going Today: Chopped in Riyadh

Where We Are Going Today: Chopped in Riyadh
Updated 31 October 2025

Where We Are Going Today: Chopped in Riyadh

Where We Are Going Today: Chopped in Riyadh
  • The true magic of Chopped may lie in its mastery of the underrated

The first thing you notice upon entering Chopped is the quiet. This is a sanctuary for meat, a world away from the clamor of a typical market. The air is cool and carries the clean, serious scent of premium, chilled beef. Your eyes are drawn to the gleaming cabinets, illuminated like museum displays for the world’s finest proteins.

To the right, the deep, ruby-red of a New Zealand striploin promises robust flavor. Further along, the spectacular marbling of an Australian ribeye looks like a frosty landscape, guaranteeing unparalleled richness and tenderness.

It is a display designed for the connoisseur who seeks both quality and a compelling origin, for the best value for money.

Behind the global sophistication lies a deeply local pride. Chopped is a Saudi-grown brand. (Supplied)

Zaid Al-Ahmad, managing director of Chopped, explains that this meticulous curation is for a specific clientele. “Our customer isn’t just shopping for dinner; they are investing in an experience,” he says. “They appreciate the narrative — the grassy pastures of New Zealand in our striploin, the rigorous grading of our Australian Wagyu. They value this story as much as the product itself.”

But the true magic of Chopped may lie in its mastery of the underrated. Alongside the celebrated steaks, you will find the chuck roll and flat iron. The chuck roll, a versatile cut often overlooked, is presented here as a jewel for slow-cooking, its potential for melting tenderness fully explained. The flat iron, a majestic centerpiece, commands attention with its impressive marbling and rich flavor.

Just beyond the meat display, a curated cheese counter extends the same philosophy of excellence. Each wheel and wedge tells a story — from aged Parmigiano Reggiano and creamy French Brie to bold English cheddars and delicate goat cheeses from Europe’s green pastures. This thoughtful selection is not simply about indulgence but about harmony — pairings that elevate Chopped’s premium meats into complete culinary experiences. It is, as Al-Ahmad describes, “the finishing note that transforms quality into craftsmanship.”

Behind the global sophistication lies a deeply local pride. Chopped is a Saudi-grown brand. (Supplied)

He believes this educated approach defines modern luxury. “By offering everything from the exquisite ribeye to the wonderfully adaptable chuck roll, we provide a thoughtful edit of the world’s best at the best value.” Yet behind the global sophistication lies a deeply local pride. “Chopped is a Saudi-grown brand,” Al-Ahmad emphasizes. “We are immensely proud of that. Our goal has always been to bring the best of the world to the Saudi customer — to offer quality and storytelling that meet the standards of our market and reflect its growing appreciation for excellence.

“We make these global flavors accessible, and that is what transforms a simple purchase into a cherished culinary event,” Al-Ahmad concluded.

For more information check their Instagram: @choppedksa.
 


Court orders pro-Palestine protesters in UK to avoid Gal Gadot film shooting

Court orders pro-Palestine protesters in UK to avoid Gal Gadot film shooting
Updated 30 October 2025

Court orders pro-Palestine protesters in UK to avoid Gal Gadot film shooting

Court orders pro-Palestine protesters in UK to avoid Gal Gadot film shooting
  • Actress served in Israel Defense Forces
  • Solicitor: ‘My clients acted entirely in accordance with their rights to freedom of assembly and expression’

LONDON: Pro-Palestine protesters in the UK who allegedly disrupted the production of a Gal Gadot movie have been ordered by a court to avoid film-shooting locations, The Times reported on Thursday.

The eight demonstrators were charged under trade union laws over their alleged disruption of “The Runner,” which features the Israeli actress, who served in the Israel Defense Forces.

At locations in London and outside the capital, protesters allegedly disrupted shooting over several days in May.

The eight individuals were charged under the Trade Union and Labour Relations (Consolidation) Act 1992, and behaved “with a view to compelling another person to abstain from filming, which that person had a legal right to do.”

The act, originally designed to combat pickets during strikes, bans the obstruction of access to a workplace.

On Thursday, Westminster Magistrates’ Court heard that all the cases relating to the eight protesters were adjourned until Nov. 18.

All were released on bail on condition that they avoid entering an area within 200 meters of filming for Gadot’s movie.

Demonstrations against her have featured protesters wearing Palestinian keffiyehs in the capital holding placards saying “trash Gadot not welcome in London” and “stop starving Gaza.” Amid the protests against her, she reportedly considered leaving London.

In Los Angeles in May, Gadot’s name was engraved in a star on the Hollywood Walk of Fame. It was later defaced by graffiti.

Katie McFadden, a solicitor with Hodge Jones & Allen, which is representing four of the alleged protesters, said: “My clients are alleged to have peacefully protested, in a public place, against a film production involving Gal Gadot.

“At all times, they acted entirely in accordance with their rights to freedom of assembly and expression, which are protected by UK law.

“We are disappointed that they have been charged with criminal offences and believe this is a disproportionate, unnecessary and unlawful interference with their rights. We will be defending these charges wholeheartedly.”
 


Recipes for Success: Chef Tim Newton offers advice and a tasy Spanakopita recipe

Recipes for Success: Chef Tim Newton offers advice and a tasy Spanakopita recipe
Updated 30 October 2025

Recipes for Success: Chef Tim Newton offers advice and a tasy Spanakopita recipe

Recipes for Success: Chef Tim Newton offers advice and a tasy Spanakopita recipe

DUBAI: Tim Newton, executive chef and partner at Dubai's Demind Group, is the culinary mastermind behind popular dining establishments like French outlet Bagatelle, Greek eatery OPA, Iberian Latiano restaurant La Nina, and Myrra, a blend of Greek and Spanish fare set against a scenic beach backdrop. 

Having worked with culinary greats including Francesco Mazzei, Matt Moran and Ed Wilson, Newton has honed his craft in the kitchens of Paris, London, California and Australia over the years. 

When you were starting out, what was the most common mistake you made? 

When I first started, I didn’t always take direction the way I should have. I thought I knew better, but I quickly learned that listening and following guidance is key. Once I understood that, everything started to change and I began to truly grow in the kitchen. 

Tim Newton is the executive chef and partner at Dubai's Demind Group. (Supplied)

What’s your top tip for amateur chefs? 

Just go for it, but if you’re cooking for others, keep it simple and do something you know well. Confidence in the dish makes all the difference, and it’s better to perfect a few things than to experiment under pressure. 

What one ingredient can instantly improve any dish? 

It really depends on the venue and the cuisine. There isn’t a single ingredient that transforms everything. Balance and understanding flavors matter more than any one secret addition. 

When you go out to eat, do you find yourself critiquing the food? 

It depends on I am. If I’m in Karama (a Dubai neighborhood), and I’m having a 40-dirham curry and rice, then I’m not there to judge, I’m there to enjoy it for what it is. But if I’m in Dubai International Financial Center paying 350 dirhams for a steak, then, yes, I notice the details. That said, we all get it wrong sometimes, even me. 

Flaming Saganaki at Opa. (Supplied)

What’s the most common issue you find in other restaurants? 

A lack of proper training. Many staff members come from different parts of the world and are expected to just get it right immediately. It’s not always fair. As customers, we should also be more understanding and less judgmental when things don’t go perfectly. 

When you go out to eat, what’s your favorite dish to order? 

Tacos, without a doubt. My wife and I love exploring all the Mexican spots in Dubai, always looking for the next great taco. 

What’s your go-to dish if you have to cook something quickly at home? 

Probably fried rice or tacos. I always have the ingredients ready for both. They’re easy, quick, and always satisfying. 

La Nina. (Supplied)

What’s your favorite dish to cook and why? 

Tacos again, mostly because they’re my wife’s favorite. Cooking them for her is something I genuinely enjoy. 

What’s the most difficult dish for you to get right? 

After 27 years in the kitchen, I wouldn’t say anything feels particularly difficult anymore. It’s all about consistency, experience, and trusting your instincts. 

As a leader, what are you like? 

I’d describe myself as tough but fair. I expect a lot from my chefs, but I give them the same in return. I push them hard because I know the reward, the learning, the growth, and the pride, are always worth it. 

 

RECIPE: SPANAKOPITA (SPINACH PIE)

For the Spanakopita

Spinach 1kg

Garlic 25g

Leeks 450g

Feta cheese 310g

Fresh dill 30g

Filo pastry 8  sheets

Unsalted butter 100g

Oil 30g

Kashkaval cheese 120g

Prepare the filling

Chop the garlic, clean the spinach, and remove any excess moisture. Clean and slice the leeks and chop the dil.. Crumble the feta cheese. Heat oil in a pan over medium heat and saute garlic until fragrant. Add the sliced leeks to the pan and cook until softened. Incorporate the spinach, cooking until wilted, add the chopped dill and cool. Once cooled, chop the spinach finely and add the feta and Kashkaval cheese. Adjust the seasoning according to your preference, then mix thoroughly.

Make the spanakopita

Start by melting the butter in a saucepan over low heat until it becomes a liquid. On a clean work surface, lay out a sheet of filo pastry. Using a pastry brush, coat the sheet evenly with the melted butter, layer a second sheet and butter. Repeat the process with a total of four sheets for the base and four sheets for the top. Cut the layered filo into 2 circles, use the help of a baking ring (20 cm diameter x 35 cm height). Cut the rest of the filo into 4cm strips. Line a baking tray with parchment paper and place a baking ring on it. Layer one round of filo at the bottom; brush ring sides with clarified butter. Arrange 4 ccm strips around the ring’s interior to cover and brush with butter and press the edges together at the bottom. Fill the centre with the filling, ensuring no air pockets, spreading evenly. Brush another filo circle with butter and place on top. Fold over remaining filo strips to enclose completely. Transfer the pie to the refrigerator and let it set for an hour. Score the chilled pie into 12 wedges using a sharp knife. Make sure to clean the knife between each slice.

Cook

Preheat the oven to 170 degrees Celsius and bake for 40 minutes. Let it sit for 15 minutes at room temperature. Meanwhile, raise the temperature of the oven to 200 degrees Celsius. Then put the pie back in the oven for 5 minutes to get the crispy finish.

Serve

Carefully remove the ring and cut the pie into 12 separate wedges. Garnish with feta cheese and add chervil and dill sprigs on top.


Ithra to reveal new commission — ‘Flamenco Essence’ — at Dubai Design Week 

Ithra to reveal new commission — ‘Flamenco Essence’ — at Dubai Design Week 
Updated 30 October 2025

Ithra to reveal new commission — ‘Flamenco Essence’ — at Dubai Design Week 

Ithra to reveal new commission — ‘Flamenco Essence’ — at Dubai Design Week 

RIYADH: The King Abdulaziz Center for World Culture (Ithra) will unveil a new commission at Dubai Design Week, which begins Nov. 4.  

Designed by Izaskun Chinchilla Architects, the installation, titled “Flamenco Essence: The Lavender Pavilion,” “bridges Spanish and Saudi traditions through shared arts, scents, and craft details,” according to a statement. 

It is, Spanish architect Izaskun Chinchilla, the founder of ICA, tells Arab News, “a space that embodies calmness, collective serenity, and the therapeutic power of scent.” 

Spanish architect Izaskun Chinchilla, whose firm designed the Ithra commission. (Supplied)

She continues: “This year’s theme (for DDW), ‘Detail,’ invites designers to rediscover the meaning hidden in traditional decorative elements. In our case, we looked at the ruffles of the flamenco skirt — a detail that might seem ornamental, but holds movement, rhythm, and emotion. The ruffle enhances the synchronization between the music and the dancer movements and, for us, it allows the synchronization of breathings from visitors. We translated that energy into architecture: light, undulating forms that seem to breathe with the visitor. 

“Lavender, deeply rooted in Saudi nature, brings its soothing fragrance and becomes a bridge between body, community, and landscape. Here, design becomes an act of care, transforming something as small as a decorative detail into a space for healing and connection.” 

The pavilion is circular, with a sequence of reclinable seats inviting visitors to try out different forms of breathing, depending on their posture. And at the heart of the installation is a plantation of lavender. “The wind naturally carries the fragrance across the pavilion, allowing visitors to enjoy the calming scent over several meters, creating a subtle, immersive experience,” says Chinchilla. “Above, an undulating fabric canopy — inspired by the ruffles of a flamenco skirt and built with outdoor textiles and a light metal structure — protects visitors from sun, dust, and rain, while channeling the lavender aroma toward the seating areas.” 

The collaboration with “our Saudi colleagues,” she adds, “greatly enriched” the project, with input on “local forms of communication” and “contemporary building techniques.” 

The hope is that guests will enjoy “a multifaceted experience of wellbeing and social connection,” Chinchilla explains. “We encourage visitors to explore different forms of interaction within the space: from quiet introspection to shared dialogue, noticing how subtle design gestures — the curvature of the seating, the undulating roof — shape the rhythm of breathing and social engagement.”