����ֱ��

‘Star Wars’ 

If the success of a film can be measured largely by its longevity, then none has stood the test of time as well as 1977’s “Star Wars.” When it came out, I was blown away by this film that crossed so many genres: action movie, Western, fairytale, sci-fi, and more. An orphaned farm boy, Luke Skywalker (Mark Hamill), joins forces with ageing Jedi Knight Obi-Wan Kenobi (Alec Guinness), roguish pilot/smuggler Han Solo (Harrison Ford), Chewbacca the Wookie, two droids, and — of course — the formidable Princess Leia (Carrie Fisher), to save the galaxy from the evil Empire’s world-destroying battle station: the Death Star, commanded by one of cinema’s greatest villains, Darth Vader. Few action movies of this time (or later) had women in them as anything other than pretty scenery to be romanced or menaced. Leia was a leader both in politics and on the battlefield. “Star Wars” is a rite of passage. My 12-year-old niece now watches it repeatedly with the same enthusiasm I did on its release.  

Peter Harrison 

‘Toy Story’  

There’s a solid argument to be made that the first three instalments of Pixar’s animated “Toy Story” franchise constitute the greatest film trilogy in history. But since this is just a one-shot pick, let’s go for the 1995 debut, where we’re introduced to the secret lives of the toys in young Andy’s room, led by straight-up good guy Sheriff Woody (Tom Hanks, who else?), whose world is shaken by the arrival of a shiny new spaceman — and rival Alpha male — Buzz Lightyear (Tim Allen), who, unlike the rest of the crew, doesn’t realize he’s a toy. There’s so much to love about this movie, from the gorgeous and subtle animation to the stellar voice acting to the storyline — perfectly pitched so it’s sweet but never saccharine, silly but relatable, and insightful but never patronizing to its audience, young or old.  

Adam Grundey 

‘Inside Out’ 

What better way to explain something as complex as emotion to a child than by watching “Inside Out,” another classic from the Pixar stable? It’s a masterclass in how to animate the human psyche in a way that captivates the whole family. What are emotions? How are memories stored? What happens to our emotions as we grow up? All these personal questions are creatively answered through a host of lovable characters — personifications of joy, sadness, fear, anger, and disgust, relatable problems such as moving cities or bruising your leg, and the life lesson that hits home for both young and old: It’s OK to feel down when you need to.  

Tarek Ali Ahmed 

‘H�Ǵǰ�’&�Բ�����;&�Բ�����;

When a classic story is reimagined with true originality, it creates a special kind of magic. And that’s exactly what Steven Spielberg does with “Hook,” which revisits “Peter Pan,” but from the point of view of a grown-up version of the eternal kid, played by the inimitable Robin Williams. Now Peter Banning, a workaholic lawyer fixated on success who has a strained relationship with his wife, Moira, and their children, this grown-up Peter has no recollection of Neverland or his adventures with Tinkerbell and the Lost Boys. Opposite Williams’ Peter is Dustin Hoffman’s Captain Hook, so utterly deliciously theatrical that he completely disappears into the role. What makes the film so special is its mix of whimsy and nostalgia. Spielberg’s world is colorful and larger-than-life, but despite the over-the-top comedy and big adventures, the film is rooted in simple themes of family, innocence and growing up without losing your sense of wonder.  

Shyama Krishna Kumar 

‘It’s a Wonderful Life’ 

It’s hard to believe now, but prior to the 1970s Frank Capra’s 1946 masterpiece was largely forgotten. The expiry of its copyright finally breathed life into a film that quickly attained holiday-classic status and has been firmly ensconced at the top of the UK and US Christmas TV trees ever since. James Stewart was never better than as protagonist George Bailey, and the storyline, while schmaltzy, has enough humor to offset the sugary excesses of picture-postcard Bedford Falls. And it’s not all sweetness and light. Bailey, who is finally saved by his guardian angel Clarence Odbody (Henry Travers), contemplates suicide after believing he has lost all chance of a future after his company’s cash goes missing. That Bailey is fallible and willing to sacrifice an apparently idyllic life lifts this film from mere fantasy to give it an almost-too-human touch.  

Nick Wood 

‘C�dz���’&�Բ�����;

Pixar’s Mexico-set comedy drama resonates with both children and adults, not just for its dazzling visuals or Oscar-winning music, but for its powerful story that sticks with you long after the credits roll. It follows 12-year-old Miguel Rivera, a Mexican boy who dreams of becoming a musician despite his family’s ban on music. A forbidden guitar strum takes him to the Land of the Dead, where he sets out to find his idol, Ernesto De La Cruz, whom he believes is his great-great-grandfather. Along the way, he uncovers long-buried truths about his ancestors. “Coco” explores themes like memory, loss, betrayal, and family in an empowering folk tale that reconnects us with our roots and reminds us why remembering our loved ones matters. The twisty plot keeps you hooked, and the emotional payoff is real. Don’t be surprised if you’re wiping away tears by the end.  

Sherouk Zakaria 

‘The Emperor’s New Groove’ 

One of Disney’s most underrated gems, this is a departure from the studio’s familiar fairytale formula and is more of an odd-couple buddy adventure with irreverent humor and a superb script. A firm family favorite when my children were young, it is still much-loved and quoted regularly in conversation. The story centers on selfish young emperor Kuzco, turned into a llama by his scheming advisor Yzma. With the help of kind-hearted villager Pacha — whose home Kuzco wants to demolish — the emperor is forced to learn the meaning of friendship. Evil Yzma is voiced by the legendary Eartha Kitt who, with Patrick Warburton as her dim-witted sidekick, Kronk, steals pretty much every scene with a combination of slapstick and wordplay. David Spade delivers Kuzco’s snarky lines perfectly, while John Goodman brings warmth to Pacha. This zany animation is short enough to hold younger viewers and, with the jokes landing just as strongly for adults, you’ll return to it time and time again. 

Rebecca Parsley 

‘Turning Red’ 

Pixar’s 2022 film ruffled some feathers at the time of its release over its core theme of puberty. But it’s dealt with so masterfully that this is a lovely watch for families with young and pre-teen kids — even though some of the references may go over the younger ones’ heads. Thirteen-year-old Mei finds herself torn between remaining a dutiful daughter and the changes adolescence brings. And if that wasn’t stressful enough, she’s also prone to turning into a giant red panda when she gets overly emotional, which, let’s face it, is a teenager’s default setting. Set in the early Noughties in a delightfully multi-cultural Toronto, it’s a nostalgic watch for any parent who spent their younger years flip-phone in hand, obsessed with boybands with their gaggle of innocent friends. It’s also particularly endearing for its overarching message of mother-daughter love and understanding, despite the ups and downs of early puberty when mothers may struggle to contend with the floodgates of change being well and truly opened. 

Saffiya Ansari 

LONDON: Several bands withdrew from a British festival on Saturday following claims that Irish folk group The Mary Wallopers had their set cut short for displaying a Palestinian flag.

The incident sparked a wave of boycotts from other performers in solidarity, it was reported on Sunday.

The Last Dinner Party, Cliffords, and The Academic announced that they would no longer perform at the annual Victorious Festival in Portsmouth, citing concerns over political censorship.

Rock band The Last Dinner Party described the incident as “outrageous” and said they could not condone silencing artists.

“As Gazans are deliberately plunged into catastrophic famine after two years of escalating violence, it is urgent and obvious that artists use their platform to draw attention to the cause,” the band said in a statement shared on Instagram.

They urged fans to support Palestinian medical charities and apologized to those hoping to see them perform.

The Mary Wallopers claimed the festival released a “misleading statement” by suggesting their set was cut due to a discriminatory chant, rather than the band’s call to “Free Palestine.”

They released video footage showing a crew member removing the flag from the stage before the sound was cut.

“The same crew member is later heard saying ‘You aren’t playing until the flag is removed’,” the band added.

The Academic said they could not “in good conscience” perform at a festival that silenced free speech, while Cliffords said they “refuse to play if we are to be censored for showing our support to the people of Palestine.”

Festival organizers initially said The Mary Wallopers’ microphones were turned off after displaying the flag, citing a long-standing policy against flags for safety and event management reasons.

They said: “We spoke to the artist before the performance regarding the festival’s long-standing policy of not allowing flags of any kind at the event, but (we said) that we respect their right to express their views during the show.”

They acknowledged, however, that the policy was not communicated sensitively and apologized for the way the situation was handled.

They added: “The Mary Wallopers are a fantastic band, and we were very much looking forward to their performance on Friday.

“We are in the business of putting on great shows, not cutting them off, and this is the last thing we wanted — for the band, their fans and ourselves.”

Organizers also pledged to make a “substantial donation” to humanitarian relief efforts for Palestinians.

The festival’s closing day on Sunday was set to feature Kings of Leon, with Bloc Party, Gabrielle, and The Reytons among the other acts scheduled to perform.