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 Punch-Drunk Love<\/em><\/strong><\/a>:<\/strong> After making the grueling, epic Magnolia<\/em>, writer\/director Paul Thomas Anderson famously said he wanted to do something easy \u2013 a 90-minute, Adam Sandler comedy. But Punch-Drunk Love<\/em> isn\u2019t a comedy the way Adam Sandler movies usually are; it\u2019s more like a comedy the way Jacques Tati movies are. The Happy Gilmore<\/em> star crafts a magnificently contained performance as a somewhat unstable entrepreneur who falls, quite unexpectedly, in love, while Anderson does all sorts of strange, fabulous things with his camera and soundtrack to put us into his protagonist\u2019s anxiety-ridden headspace. It can make for a harrowing watch, but when Sandler\u2019s warmth unexpectedly breaks through, it\u2019s blinding. And Emily Watson\u2019s understated, elegant turn is a huge assist in making this profoundly bizarre and experimental effort into a surprisingly universal paean to the first flush of love. Criterion added this one to the collection in 2016, while Columbia issued it on 4K as part of a \u201cColumbia Classics\u201d collection; Criterion\u2019s 4K bump gives you the best of both worlds. (Includes short film, interviews and conversations, featurette, artwork, Cannes Film Festival press conference and interviews, deleted scenes, commercial, trailers, and essay by Miranda July.)<\/p>\n\n\n\n ON 4K \/ BLU-RAY \/ DVD \/ VOD:<\/strong><\/p>\n\n\n\n Heretic<\/em><\/strong><\/a>: <\/strong>Scott Beck and Bryan Woods write and direct, and their screenplay is as narratively efficient as you\u2019d expect from the writers of A Quiet Place<\/em>, hustling to the battle of wits and theological philosophies that sets things in motion, but with just enough character and relationship development to put us on solid ground as they go through that door. The filmmakers conform to the A24 house style without sacrificing a sense of pace or excitement; the picture moves like a shot, comes in as late as possible, and jumps out with similar brevity. It\u2019s a sturdy and effective thriller<\/a>, and serves as further confirmation that Hugh Grant, playing grippingly against type, is still capable of surprising (and even shocking) his audience. (Includes audio commentary and featurettes.)<\/p>\n\n\n\n ON BLU-RAY \/ DVD \/ VOD:<\/strong><\/p>\n\n\n\n A Real Pain<\/em><\/strong><\/a>: <\/strong>Writer\/director Jesse Eisenberg\u2019s sophomore effort concerns cousins David (Eisenberg) and Benji (Kieran Culkin), on a \u201cHeritage tour\u201d through Poland at the behest of their recently-departed grandmother, and he finds copious opportunities to place them in situations where their prickliness and resentment simmers \u2014 where Benji\u2019s perpetual lack of social grace and filter embarrasses David, and tests their patience with each other. But the substance of their journey is never merely background, and Eisenberg gets the balance right, which is a tricky bit of business; he knows when to lean into the sentimentality, and when to deflate it. He\u2019s also generous enough to write himself the straight-man role, allowing Oscar front-runner Culkin to do his most impressively thorny film work since Igby Goes Down<\/em>. This is a modest picture, but a resonant one. (Also streaming on Hulu<\/em><\/a>.) (Includes featurette.)<\/p>\n\n\n\n