On Disney Plus We could already have a great time with the very entertaining Star Wars sagas (since 1977) or the Marvel Cinematic Universe (since 2008). Or with great movies such as The Nightmare Before Christmas, Mrs. Doubtfire, Dad for Life (Henry Selick, Chris Columbus, 1993), Beyond Dreams (Vincent Ward, 1998), The Ice Age (Chris Wedge and Carlos Saldanha, 2002), Searching Nemo (Andrew Stanton and Lee Unkrich, 2003), those from the first Pirates of the Caribbean trilogy (Gore Verbinski, 2003-2007), Ice Age 2: The thaw (Saldanha, 2006) or The Simpsons (David Silverman, 2007) .
The perfect tragedy of the immeasurable Titanic can already squeeze our hearts mercilessly in Disney Plus
And WALL • E (Stanton, 2008), Up (Pete Docter and Bob Peterson, 2009), Arlo’s trip (Peter Sohn, 2015) or Ralph breaks the Internet (Rich Moore and Phil Johnston, 2018). But, as The Walt Disney Company has become an audiovisual titan with the acquisition of other companies in the Hollywood industry, it can now offer much more. Therefore, they have put adult content on Disney Plus through the Star section. And there we have the complete saga that begins The Crystal Jungle (John McTiernan, 1988), so that we start with a very suitable example.
Star’s Most Outstanding Movies
In this way, we can have a blast — never better said — with Die Hard: Revenge (McTiernan, 1995), its action in abundance and the great game given by a protagonist like John McClane (Bruce Willis), who also makes a comic couple here with Zeus Carver (Samuel L. Jackson). Or that tremendous shivers run down our spine with the religious delusions of The crucible (Nicholas Hytner, 1996). Or allow the perfect tragedy of the immeasurable Titanic (James Cameron, 1997), absolute winner of the Oscars, squeezed our hearts without mercy.
The beautiful audiovisual symphony of The protégé and the Hitchcockian exercise of What the Truth Hides have also reached Disney Plus
And that The X-Files: Face the Future (Rob Bowman, 1998) amazes us as the wonderful television series from which it emanates, between seasons five and six, also available on Star. Or that the beautiful audiovisual symphony of The protégé (M. Night Shyamalan, 2000) it captivates us until its impressive conclusion widens our eyes. Or that the Hitchcockian exercise of What the truth hides (Robert Zemeckis, 2000) pushed us to bite our nails out of sheer concern. Without getting rid of what Moulin rouge (Baz Luhrmann, 2001) dazzles us with his picturesque musical surrealism.
Nor that the creepy Signs (Shyamalan, 2002) leave us picuetos when all his narrative pieces fit in the last section. What Solaris (Steven Soderbergh, 2002) and its very strange spatial circumstances, according to the homonymous novel by the Polish Stanislaw Lem (1961). Nor that the lethal despair of the protagonist of Last call (Joel Schumacher, 2002) infect us. Nor that the mysterious beauty of The forest (Shyamalan, 2004) he blinks us up to hit us at the end. Or what Another land (Mike Cahill, 2011) drag us into his terrible fantasy drama.
Other feature films of interest in Star
Many will think a mention of Alien: The Eighth Passenger is missing (Ridley Scott, 1979). But in Star we can also come across other films that are very enjoyable. What Robin Hood, prince of thieves (Kevin Reynolds, 1991), perhaps the best or most pleasant adaptation of this legendary story, without skimping on good humor or medieval horrors. And the romantic espionage of Glow in the dark (David Seltzer, 1992). Or the underrated action comedy that is Risky lies (Cameron, 1994). Or the desperate epic of Braveheart (Mel Gibson, 1995) or the unequivocal power of The rock (Michael Bay, 1996), the only relevant thing about its director.
Now Moulin Rouge can equally dazzle us on Disney Plus with its picturesque musical surrealism
As much as the tremendous blackness of Road to Perdition (Sam Mendes, 2002), or the well-deserved cult that is paid to The last night (Spike Lee, 2002). And the tasty tragicomedy of the acid Between glasses (Alexander Payne, 2004) and from Melinda and Melinda (Woody Allen, 2004). Or the dramatic intensity of Cinderella Man: The Man Who Didn’t Let Down (Ron Howard, 2005) and the enigmatic anguish of Flight plan: Missing (Robert Schwentke, 2005). Or the restlessness of The last king of Scotland (Kevin Macdonald, 2006) and the visual delicacy of The life of Pi (Ang Lee, 2012). And we suppose that not a few would add Deadpool (Tim Miller, 2016) and Deadpool 2 (David Leitch, 2018).
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