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 Stop Making Sense<\/em><\/strong><\/a>: <\/strong>Let\u2019s not beat around the bush here: deluxe packaging or no, A24 is charging too damn much for the 4K UHD of their recent re-release<\/em><\/strong><\/a> of the Talking Heads and Jonathan Demme\u2019s all-timer concert film, which is an A24 Shop exclusive with a rather steep current asking price of $53 (plus shipping). Now, that said, if you\u2019ve got it to spend, it\u2019s worth every dime. The early digital recording and careful film restoration means it looks and sounds like it was shot last week (better, frankly, since it\u2019s shot on film), the picture still pulses with the electricity of a magnificent live performance, and its rewatch value is off the charts (I\u2019m finishing my second run of the disc as I write this). Hopefully the label will grant us a budget release down the read, but Heads-heads, you know what to do here. (Includes audio commentary, extended cuts, rehearsal tapes, and alternate mixes.) <\/p>\n\n\n\n ON HULU:<\/strong><\/p>\n\n\n\n Ferrari<\/a><\/em>:<\/strong> Michael Mann resisted labeling his dramatization of a year in the life of Enzo Ferrari (Adam Driver) as a biopic, and it\u2019s easy to understand why<\/a>; calling it that gets it financed, but also gets it lumped in with the likes of Bohemian Rhapsody<\/em> and Back to Black<\/em>. As with Mann\u2019s finest films, Ferrari<\/em> is at its best when it\u2019s most experiential: the roar of the engine, the speed of the camera movement, the rip of the cuts, the excitement and anticipation of roaring off the starting line before day has broken, the click-click-click cutting, even as Enzo just takes a regular daily drive. And, as ever, there is the intimacy of his camera, his consistent desire to get as close as he can to the faces and (especially) the eyes of his subjects, so he can peer into their very souls. That urgency, that desire, is what elevates Ferrari<\/em> from the biopic pack.<\/p>\n\n\n\n ON BLU-RAY \/ DVD \/ VOD:<\/strong><\/p>\n\n\n\n Anatomy of a Fall<\/a><\/em>: <\/strong>The opening line of Justine Triet\u2019s thorny crime drama (joining the Criterion Collection, fresh from its Oscar win for best original screenplay) is \u201cWhat do you want to know?\u201d It\u2019s a casual question, at the beginning of a semi-formal interview, but it becomes Triet\u2019s key inquiry; it is asked by Sandra Voyter (Sandra H\u00fcller, staggering), a novelist whose husband dies a few minutes into that grabber of an opening. He fell from a high window, so maybe he killed himself, or maybe he was pushed by his wife; Triet pointedly does not tell us, and H\u00fcller\u2019s performance is similarly enigmatic, creating quiet yet searing suspense throughout the investigation and trial that follows. Acting is tip-top across the board, not just from H\u00fcller but from young Milo Machado Graner as her son, who has secrets and reserves of his own. (Also streaming on Hulu<\/em><\/a>.) (Includes deleted and alternate scenes with commentary, Triet interview, audition and rehearsal footage, featurette, trailer, and essay by Alexandra Schwartz.)<\/p>\n\n\n\n