{"id":21167,"date":"2023-11-14T09:00:00","date_gmt":"2023-11-14T17:00:00","guid":{"rendered":"https:\/\/crookedmarquee.com\/stage8\/?p=21167"},"modified":"2024-03-02T21:15:52","modified_gmt":"2024-03-03T05:15:52","slug":"the-best-movies-to-buy-or-stream-this-week-the-last-picture-show-terms-of-endearment-rewind-play-and-more","status":"publish","type":"post","link":"https:\/\/crookedmarquee.com\/stage8\/the-best-movies-to-buy-or-stream-this-week-the-last-picture-show-terms-of-endearment-rewind-play-and-more\/","title":{"rendered":"The Best Movies to Buy or Stream This Week: The Last Picture Show<\/i>, Terms of Endearment<\/i>, Rewind & Play<\/i>, and More"},"content":{"rendered":"\n

Every Tuesday, discriminating viewers are confronted with a flurry of choices: new releases on disc and on demand, vintage and original movies on any number of streaming platforms, catalogue titles making a splash on Blu-ray or 4K. This twice-monthly column sifts through all of those choices to pluck out the movies most worth your time, no matter how you\u2019re watching.<\/em><\/p>\n\n\n\n

PICK OF THE WEEK: <\/strong><\/p>\n\n\n\n

The Last Picture Show \/ Texasville<\/em><\/strong><\/a>:<\/strong> <\/em><\/strong>The Criterion Collection\u2019s 4K upgrade to their essential edition of Peter Bogdanovich\u2019s career-making 1971 adaptation of Larry McMurtry\u2019s novel is cause enough for celebration \u2014 Robert Surtees\u2019s gorgeous black-and-white cinematography has never looked more melancholy or luminous, especially now that Picture Show<\/em> is a double period piece (it was only set 20 years in the past when it was released, but that was 50-plus years ago now). And the film itself retains its considerable power, a quintessential New Hollywood re-interrogation of our cultural perceptions and nostalgia. But just as momentous is the three-disc set\u2019s inclusion of Texasville<\/em>, Bogdanovich\u2019s 1990 sequel, mostly maligned at the time but now clearly an undiscovered gem, particularly in its longer, black-and-white director\u2019s cut. Though the focus is primarily on Jeff Bridges and Cybill Shepard, the extra time allows Bogdanovich to create a sense of community, drawing from a deep bench of both returning players (Timothy Bottoms breaks your heart) and fresh additions (Annie Potts is especially noteworthy). Taken together, they have much to say about small-town life and American ennui in the mid-to-late 20th century; they\u2019re also sad, funny, and lovely. (Includes audio commentaries, documentaries, screen tests, location footage, introduction, archival interview, and trailers.)<\/p>\n\n\n\n

ON MUBI:<\/strong><\/p>\n\n\n\n

Rewind & Play<\/em><\/strong><\/a>: <\/em><\/strong>This quite unusual documentary, featuring but not \u201cabout\u201d (in any traditional sense) the great jazz pianist Thelonius Monk, is comprised of footage from a December 1969 trip to Paris \u2013 a bit of film of his arrival at the airport, but mostly raw footage from an appearance on the French television program \u201cJazz Portrait.\u201d Monk does not seem at ease on camera (or in France, frankly), and it\u2019s a stilted, awkward interview, the musician and his white, French host crashing against barriers of both language and culture. Gomis brilliantly shares all the outtakes, do-overs, and rough edges, which makes for a tremendously revealing look at how celebrities are packaged, how talk show conversations are created, and (especially in this period) how Black entertainers were infantilized. Finally, at the end, they just let him play, and it\u2019s perfect: evocative, emotional, melancholy, affecting. \u201cOh you know, all I do is play,\u201d he chuckles early on, and it seems like a dodge; by the end, it feels like a plea.<\/p>\n\n\n\n

\n