very 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 Jackie Brown<\/em><\/strong><\/a>: <\/strong>Quentin Tarantino\u2019s long-awaited, much anticipated 1997 follow-up to Pulp Fiction<\/em> would\u2019ve had a hard time topping that film\u2019s quotability, inventiveness, and pop culture ubiquity; smart guy that he is, he didn\u2019t even try. Instead, he made a laid-back adaptation of a marvelous, late-period Elmore Leonard novel, and handed the leading roles to Pam Grier and Robert Forster, at a moment when he was about the only director who could get a studio to go for casting either actor in a leading role. They generate genuine warmth and affection as a put-upon airline stewardess and the bail bondsman who falls for her; Samuel L. Jackson turns in one of his most chilling performances as the bad guy who first wants to use them, and then wants to kill them. Most of Tarantino\u2019s films have aged just fine, but Jackie Brown<\/em>\u2019s mellow vibe and preoccupation with mature characters make it quite possibly the only one that\u2019s getting better<\/em> with each passing year. It\u2019s making its 4K UHD debut via Lionsgate, with a new transfer that captures the picture\u2019s ageless look and fine grain beautifully. (Includes featurettes, interviews, deleted and alternate scenes, trivia track, marketing gallery, and Siskel & Ebert<\/em> review.) <\/p>\n\n\n\n ON NETFLIX:<\/strong><\/p>\n\n\n\n You Hurt My Feelings<\/em><\/strong><\/a>: <\/strong>A decade after their career-highlight collaboration with Enough Said<\/em>, writer\/director Nicole Holofcener and producer\/star Julia Louis-Dreyfus reteam for another story of a somewhat neurotic woman struggling with information she wishes she didn\u2019t have. This time around, JLD is a writer who accidentally overhears her seemingly supportive spouse (Tobias Menzes) trashing her latest book, and subsequently finds herself questioning everything about her marriage\u2014and her life. That\u2019s heady subject matter, but Holofcener exhibits the right, light touch to the material, speaking to universal truths in a manner both wildly funny and undeniably identifiable<\/a>.<\/p>\n\n\n\n ON BLU-RAY \/ DVD \/ VOD:<\/strong><\/p>\n\n\n\n We Live in Time<\/em><\/strong><\/a>:<\/strong> <\/em><\/strong>At risk of sounding like a cinematic Scrooge, there is something undeniably been-there-done-that about a story of a couple who find that their perfect love is no match for a cancer diagnosis. Thankfully, the inventive structure deployed by screenwriter Nick Payne and director John Crowley helps paper over that familiarity, as they use a non-linear chronology to make the picture a puzzle that we have to piece together as we go. The other saving grace is the considerable chemistry between stars Andrew Garfield and Florence Pugh, whose every interaction vibrates with a genuine affection that goes a long way towards carrying off the personal tragedies of their tale. (Includes audio commentary and featurettes.)<\/p>\n\n\n\n Here<\/em><\/strong><\/a>: <\/strong>You\u2019re always kinda grading on a curve with late-period Robert Zemeckis, whose weird swerve into technological navel gazing over narrative coherence (circa The Polar Express<\/em><\/a>) has resulted in, save Allied<\/em>, movies that are baffling at best and terrible at worst. But his most recent picture is both a fascinating experiment and an occasionally compelling narrative, with its entire, centuries-spanning story told in front of a locked-down camera in the living room of a suburban house (or the ground where it would eventually stand). The big news is the reunion of Zemeckis with his Forrest Gump <\/em>writer Eric Roth and stars Tom Hanks and Robin Wright, who are impressively de-aged and serve as the emotional center of the story, which sparks to life when they appear (and slows considerably when they\u2019re gone). Some of it plays as obvious boomerism, but it builds an emotional head of steam going into the final scenes, resulting in a gimmick movie that pays off, just like his films so often used<\/em> to do. (Includes deleted scenes and feagturette.)<\/p>\n\n\n\n