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China urges UN Security Council to de-escalate Middle East crisis
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RAWALPINDI: Pakistan International Airlines (PIA) and Funadiq Travel & Tourism Services, the offici
RAWALPINDI: Pakistan International Airlines (PIA) and Funadiq Travel & Tourism Services, the official marketing representative of the Saudi Tourism Authority in Pakistan, have signed a memorandum of understanding (MoU) to boost tourism and air travel between Pakistan and Saudi Arabia. A spokesman for PIA said on Monday that the partnership aims to promote Saudi Arabia as a top tourist destination for Pakistani travelers through joint marketing initiatives, co-branded travel packages, and sustainable tourism practices. The collaboration also supports the broader objectives of Saudi Arabia’s Vision 2030. Speaking at the signing ceremony, PIA CEO Amir Hayat said: “This partnership reflects PIA’s commitment to providing enhanced travel experiences for our passengers. By working with Funadiq and the Saudi Tourism Authority, we aim to make travel between Pakistan and Saudi Arabia more accessible and enjoyable for our customers.” Funadiq’s CEO Mohammad Salman Arain said: “We are thrilled to join hands with PIA in promoting Saudi Arabia as a world-class destination. Together, we will ensure that Pakistani tourists enjoy seamless travel experiences while exploring the rich cultural and historical heritage of Saudi Arabia.”
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User Reviews
Recommended Reads, Eric and Shelly return to the screens in unrecognisable form with actors Bill Skarsgård and FKA Twigs (the latter needs to take acting classes) in a quasi-reboot that is a waste of time and money. Emotionally scarred, short of a set of full eyebrows and covered in tattoos, the reboots’ Eric and Shelly meet at an institute for the mentally troubled. The two flee, live a life of free love and all-night clubbing until Shelly’s past — which deals with a rich man (Danny Huston) who made a pact with the devil for immortality — catches up to them with bloody consequences. Eric, waking up in a netherworld railway station, makes a deal with an entity to return to Earth for vengeance. The sequence was unnecessary, like the rest of the film. Although heavily adapted from the comic book by creator James O’Barr, the first Crow kept out scenes of supernatural dealings, forcing the resurrected Eric to learn on the fly who he is and why he has been resurrected. While not done with perfection, learning on-the-go kept one engaged with the slow reveals of the story; the railway station scene, on the other hand, feels like a hackneyed cop-out that spoon-feeds information. It is but one of the big miscalculations. The dark setting of the 1994 film’s world — an early stylistic choice of Alex Proyas (who did a similarly dark science-fiction film Dark City) — had fit well with the story at hand. In the new film, the story is set in brightly lit, modern skyscrapers (the production is set in the Czech Republic for cost-cutting measures). The choice of the updated production design fits as much as the direction by Rupert Sanders (Snow White and the Huntsman, Ghost in the Shell). The screenplay by Zach Baylin and William Schneider, on the other hand, deserves a place at the top of the pile of rejected scripts at a studio executives’ table. Skarsgård — who one may remember from his stint as the evil alien clown Pennywise from Stephen King’s IT — is a really good actor whose efforts to pull off a worthwhile performance are buried under a ton of bad creative decisions. Is it any wonder that the film is available to rent and purchase via Amazon, Apple and other vendors, a mere 20 days after its theatrical release?
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