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 Peeping Tom<\/em><\/strong><\/a>: <\/strong>Criterion gives the 4K bump to this still-controversial thriller from Michael Powell, made after his split from longtime collaborator Emeric Pressburger. A grim and grisly 1960 exploration of voyeurism and murder, it covered much of the same ground as that year\u2019s Psycho<\/em>, but with vastly different responses and results for the filmmakers behind them. Carl Boehm is chilling as a photographer who films women as he kills them, while Anna Massey is endlessly sympathetic as a woman who could either save him or become his next victim. Powell adopts an unnerving visual style, heavy on subjective camerawork that perhaps made its original audiences feel a bit closer to the titular character than they would\u2019ve liked. (Includes audio commentaries, introductions by Martin Scorsese and Thelma Schoonmaker, featurettes, trailer, and essay by Megan Abbott.) (Also streaming on the Criterion Channel<\/em><\/a>.<\/em>)<\/p>\n\n\n\n ON HULU:<\/strong><\/p>\n\n\n\n Eileen<\/em><\/strong><\/a>: <\/strong>William Oldroyd\u2019s adaptation of Ottessa Moshfegh\u2019s novel is two great movies in one<\/a>. The first half or so is a gin-soaked slice of sinful pulp, in which a dissatisfied 24-year-old prison clerk (Thomasin McKenzie, revelatory) finds her senses awakened by the splendidly named \u201cDr. Ms. Rebecca St. John,\u201d played by Anne Hathaway in straight-up blonde bombshell mode, sporting Marilyn hair, and smoking cigarettes the way bad women used to smoke them in movies. You see that hesitation and confusion in the panic that overcomes Eileen when Rebecca invites her out for a drink after work, and we can be certain of one thing: in some sense or another, Eileen is in trouble. That trouble arrives in the form of a spectacular third act 180, a first-rate bait-and-switch, and in the hands of a lesser filmmaker, and a less accomplished cast, it could\u2019ve absolutely gone to shambles. But that\u2019s not what happens here at all; Eileen<\/em> pulls off the transition from teasing fatalism to something much doomier, and does it with panache. <\/p>\n\n\n\n