Weekend Argus (Saturday Edition) - - GOODMOVIES -


Bridge of Spies: Steven Spiel­berg’s first ven­ture into Cold War es­pi­onage movie ter­ri­tory is co-scripted by the Coen broth­ers and Bri­tish writer Matt Char­man. It is a con­sum­mately crafted, richly lay­ered af­fair, with fine per­for­mances from Tom Hanks and Mark Ry­lance. ★★★★ A Walk in the Woods: Robert Red­ford and Nick Nolte star in this adap­ta­tion of Bill Bryson’s mem­oir about an epic walk along the Ap­palachian trail. The film is as slow-mov­ing as its two cur­mud­geonly leads and is un­abashedly sen­ti­men­tal, but it has a re­demp­tive charm. ★★★★ Big Stone Gap: In a small town, spin­ster Ave Maria Mul­li­gan finds her life shaken up when she learns a long­buried fam­ily se­cret. The film has an end­ing that’s rather im­plau­si­ble, but in a lot of ways this is a Chicken Soup for the Soul sort of movie and some­times, that’s ex­actly what one needs. ★★★ Scouts Guide to the Zombie Apoca­lypse: Three Scouts join forces with a tough cock­tail waitress to be­come the world’s most un­likely team of he­roes. When their town is rav­aged by a zombie in­va­sion, they put their scout­ing skills to the test to save mankind from the un­dead hordes. ★★★ War Room: Clum­sily writ­ten faith­based drama is a soap opera-style tale which sees a strug­gling cou­ple chal­lenged to es­tab­lish a ‘war room’ and a bat­tle plan of prayer for their fam­ily. ★★


Leg­end: Leg­end is a biopic on a lav­ish scale. The lead char­ac­ters, the Krays, leg­endary gang­ster twins (both played by Tom Hardy) are Bri­tish, the set­ting is Lon­don in the 1960s, but the film has the feel of an Amer­i­can gang­ster epic. It takes a mythol­o­gis­ing and, at times, ab­surdly ro­man­tic, ap­proach to its low-life he­roes. In spite of the blood­let­ting and vi­o­lence, it is a very glossy film, beau­ti­fully shot by cin­e­matog­ra­pher Dick Pope and with plenty of Burt Bacharach on the sound­track. ★★★★ Goosebumps: Up­set about mov­ing from a big city to a small town, teenager Zach Cooper (Dy­lan Min­nette) finds a sil­ver lin­ing when he meets the beau­ti­ful girl, Hannah (Odeya Rush), liv­ing next door. But ev­ery sil­ver lin­ing has a cloud, and Zach’s comes when he learns that Hannah has a mys­te­ri­ous dad who is re­vealed to be RL Stine (Jack Black), the author of the best-sell­ing Goosebumps se­ries. It turns out that there is a rea­son why Stine is so strange: he is a pris­oner of his own imag­i­na­tion – the mon­sters that his books made fa­mous are real and Stine pro­tects his read­ers by keep­ing them locked up in their books. When Zach un­in­ten­tion­ally un­leashes the mon­sters from their manuscripts, it’s up to Stine, Zach, and Hannah to get all of them back in the books where they be­long. The film isn’t par­tic­u­larly imag­i­na­tive. ★★★ Crim­son Peak: Set in 19th-cen­tury England in a de­crepit, but pic­turesque manor home and star­ring Mia Wasikowska, Tom Hid­dle­ston and Jes­sica Chas­tain, the film by the stylish fan­ta­sist Guillermo del Toro looks mar­vel­lous, but has a vein of nar­ra­tive muck at its core. ★★★ Knock Knock: Two nu­bile, stranded women (Ana de Ar­mas, Lorenza Izzo) re­veal a sin­is­ter agenda af­ter they spend the night with a mar­ried ar­chi­tect (Keanu Reeves). ★★★ Dis Ek Anna: Based on Anchien Troskie’s two top-sell­ing nov­els, Dis ek, Anna and Die Staat Teen Anna Bruwer. The film is about the sex­ual abuse of Anna Bruwer by her step­fa­ther over a pe­riod of eight years. The viewer be­comes in­ti­mately in­volved in the child’s world of shame, threats and si­lence. ★★★★ The Walk: Twelve peo­ple have walked on the moon, but only one man has ever, or will ever, walk in the void be­tween the old World Trade Cen­ter tow­ers. Guided by his real-life men­tor, Papa Rudy (Ben Kings­ley), Philippe Pe­tit (Joseph Gor­don-Le­vitt) and his gang over­come long odds, be­tray­als and count­less close calls to con­ceive and ex­e­cute their mad plan. ★★★★ Black Mass: Johnny Depp de­liv­ers a frigid, dead-eyed per­for­mance as ruth­less Bos­ton gang­ster James “Whitey” Bul­ger in a som­bre-toned drama­ti­sa­tion of Bul­ger’s ma­nip­u­la­tion of the lo­cal FBI. Di­rec­tor Scott Cooper does an ad­mirable job of de­val­oris­ing the kinds of char­ac­ters that Martin Scors­ese has made a ca­reer of colour­fully mythol­o­gis­ing. ★★★

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