Last modified on Sat 20 Feb 2021 14.44 EST
Itâs nearly a year since Disney+ made its way to the UK in what must surely rank as one of the most fortuitously timed launches in media history. Just as Britain went into its first Covid-19 lockdown, harried parents were suddenly presented with approximately a zillion hours of Disney and Disney-adjacent streaming content, from classic animation to National Geographic to
The Mandalorian.
Child-free adults with little interest in family fare, however, could safely give it a miss. Cue the arrival of Star, a separate hub of grown-up programming within the service, where Disneyâs takeover of 20th Century Studios, Touchstone Pictures and the ABC television network, among others, comes into play. Star launches on Tuesday with more than 270 films and 70 series, largely pulled from the recent archives: a thousand more titles are promised within the first year. You canât have Star without the rest of Disney+, or vice versa: that me
Streaming: Star is Disney+ for grownups – but is it any good?
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Welcome to the annual best of the year movie lists - taking place of the
Month at the Movies article for December, as a lot of these films I did actually watch last month for the first time in my end of year catchup. I ve seen a lot of great movies in 2020 and whilst it may have been the smart thing to cut down this list, in a year with so little else going for it, one of the best things about this year has been the wide quality of consistently great movies that we ve had over the course of 2020. In a year so good that I could quite happily have upped this list to 60 films (you ll notice that excellent blockbusters,
The latest movie from acclaimed documentary filmmakers Turner Ross and Bill Ross IV, called
Bloody Nose, Empty Pockets, was a sensation at last year’s Sundance Festival, and when you step back and look at what they’ve done, it’s kind of astonishing.
The movie takes place in a dive bar in Las Vegas on the night before it closes for good, and simply follows the people who call the place “home,” for lack of a better word. In a breezy, freewheeling style, the brothers capture what is, in a way, the last night before the apocalypse.
But it’s one thing to have the footage, it’s another to know what to do with it. And the way the film is constructed is jaw-dropping the Rosses find such humanity in what they’ve captured, and the movie pulses with the ebb and flow of the rhythms of the day and night. It’s almost as if they play the bar patrons like musical instruments within the concert hall of the bar, evoking joy, pathos, and an uncommon understanding of what makes pe
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