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 Thieves Like Us<\/em><\/strong><\/a>: This 1974 Robert Altman drama (debuting on 4K from Cin\u00e9matographe) looks, on its face, like yet another Bonnie & Clyde<\/em> rip-off, a Depression-era tale of lovers on the run\u2014except the lovers themselves never actually go anywhere, which is perhaps the point of the thing, ultimately. The script by (Altman, his Nashville<\/em> collaborator Joan Tewkesbury, and Rambling Rose<\/em> writer Calder Willingham) tells the story of Bowie (a terrific Keith Carradine), part of a bank-robbing gang of hoods, and Keechie (Shelly Duvall, never better), the simple girl he keeps coming back to. Altman\u2019s working in a different key than Bonnie & Clyde<\/em> and its exploitation successors like Big Bad Mama<\/em> and Boxcar Bertha<\/em>; its style is laid-back, modest, and subtle, a detailed recreation of a world where the radio was always on and there was nothing better than enjoying a cold bottle of Coke with your best girl. (Includes audio commentaries, new and archival interviews, theatrical trailer, and essays by Mitchell Beaupre, Marya E. Gates, and Carlos Valladares.)<\/p>\n\n\n\n ON NETFLIX:<\/strong><\/p>\n\n\n\n Logan Lucky<\/a><\/em>: <\/strong>With Channing Tatum currently charming and shocking audiences in Blink Twice<\/em>, Netflix has wisely started streaming Steven Soderbergh\u2019s 2017 return to feature filmmaking (after a self-imposed hiatus that no one took terribly seriously to begin with). It\u2019s a deliriously entertaining and deliciously well-executed return to his specialty, the heist movie, but with a twist: rather than the finely-tailored likes of George Clooney and Brad Pitt, he focuses on a family of backwoods bad-luck cases, and their plan to rip off a NASCAR speedway. An observer winkingly dubs it \u201cOcean\u2019s 7-11,\u201d and that\u2019s about right; it\u2019s like a bunch of Coen Brothers characters wandered into a Soderbergh movie, with all the dry verbal wit and visual ingenuity that equation suggests. <\/p>\n\n\n\n First Man<\/a><\/em>: <\/strong>Damien Chazelle\u2019s La La Land<\/em> follow-up looked like one of 2018\u2019s best bets, both commercially and in the awards race, and its unfortunate failure to connect with either probably has something to do with its refusal to adhere to the lamest of biopic traditions. His dramatization of the journey of Neil Armstrong is not about checking date-and-place boxes; it\u2019s all about perspective, all seen from his point of view, less concerned with history of that mission\u2019s impact than with what it was like to be him<\/em>. And he doesn\u2019t exactly let you in \u2013 this guy was the very definition of the strong, silent type, and star Ryan Gosling leans into that squareness, daring us to peer in to his up-tight close-ups and find the guy inside. This is a moving, well-mounted, and (most commendably) personal piece of work. <\/p>\n\n\n\n ON 4K \/ BLU-RAY \/ DVD \/ VOD:<\/strong><\/p>\n\n\n\n Kingdom of the Planet of the Apes<\/a><\/em>: <\/strong>The rebooted \u201cPlanet of the Apes\u201d trilogy was a perfectly realized story, coming to what seemed a logical conclusion, and the decision to jump-start it is as knee-jerk frustrating as the similarly money-grabbing \u201cHunger Games\u201d re-launch<\/a>. That said, this is a fine piece of pop filmmaking, with director Wes Ball (the Maze Runner<\/em> films) constructing a generations-later narrative that introduces an ape \u201cclan,\u201d its inhabitants, and their rituals and routines before launching into a struggle between our good-hearted heroes and a genuinely scary villain. The sheer how-do-they-do-<\/em>that factor, a presence since the initial \u201860s and \u201870s installments, remains strong (the sheer emotional force of these creatures is mind-boggling), and while it\u2019s a touch overlong at 145 minutes, this is nevertheless a worthwhile entry in an unexpectedly durable franchise. (Also streaming on Hulu<\/em><\/a>.<\/em>) (Includes audio commentary, alternate \u201cunfinished VFX\u201d version, deleted and extended scenes, and featurettes.)<\/p>\n\n\n\n