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 Amadeus: Theatrical Cut<\/em><\/strong><\/a>: <\/strong>A funny thing happened on the way to Amadeus<\/em>\u2019s home video afterlife: when Milos Forman\u2019s director\u2019s cut \u2014 20 minutes longer, and with enough additional adult-oriented material to bump it up from a PG to R rating \u2014 was released on DVD in 2002, it basically replaced the original theatrical version, becoming the only cut available to buy, rent, or stream. The trouble is, that\u2019s not the version that won the Oscar for Best Picture of 1984, and many admirers of the original found this expanded version to be inferior. Thankfully, its 4K UHD debut brings back that original cut (though it\u2019s odd that those additional scenes aren\u2019t, at the very least, included as a bonus feature), and reminds us of what a splendid film it is. Most biographical filmmakers view their subjects in the most straight-ahead manner possible \u2014 coming at them through the front door, if you will \u2014 but Forman and writer Peter Shaffer (adapting his play) came at Wolfgang Amadeus Mozart through the window. In spite of its title, Amadeus<\/em> isn\u2019t a biography of Mozart at all; it is the story of his rivalry with composer Antonio Salieri (F. Murray Abraham), and Mozart (Tom Hulce) is only seen through that character\u2019s eyes.\u00a0 By focusing on the intricacies of that relationship (one that Shaffer highly fictionalized), this exquisite character study becomes less a biopic than an absorbing drama all its own<\/a>. <\/strong>(Includes featurettes.)<\/p>\n\n\n\n ON THE CRITERION CHANNEL:<\/strong><\/p>\n\n\n\n Between the Lines<\/em><\/strong><\/a>:<\/strong> This comedy\/drama about the goings-on at a Boston alt-weekly from director Joan Micklin Silver (Crossing Delancey<\/em>, see below) was a reasonable success when it hit theaters in 1977 \u2013 big enough for a short-lived TV sitcom adaptation, at least. But it disappeared in recent years, so its rediscovery was something of a revelation; it\u2019s both a marvelous time capsule of its era, pulsing with authenticity (Silver was herself an alum of the Village Voice<\/em>) and a reminder that certain concerns of journalism \u2013 low pay, editorial interference, corporate buyouts \u2013 are sadly timeless. Yet because the film is of<\/em> that era and not merely about it, screenwriter Fred Barron manages to capture the scene without sentimentalizing it. Verisimilitude aside, it\u2019s a sharp, fast, funny piece of work<\/a> with a stellar ensemble, including John Heard as the perpetual malcontent, Lindsay Crouse as the seen-it-all photographer, and (in one of the best pieces of casting of the era) Jeff Goldblum as the scamming rock critic. <\/p>\n\n\n\n ON BLU-RAY \/ DVD \/ VOD:<\/strong><\/p>\n\n\n\n Nosferatu<\/em><\/strong><\/a>: <\/strong>Robert Eggers\u2019s take on the venerable Dracula rip-off<\/a> feels like the movie he\u2019s been building towards for all of these years, a meticulously crafted assemblage of vampire lore, throwback effects, theatrical performances, and vibes. Bill Skarsg\u00e5rd is chillingly effective as Count Orlok, who crosses land and sea to sink his teeth into Ellen Hutter (Lily-Rose Depp, shouting out Isabelle Huppert\u2019s work in not only Herzog\u2019s version<\/a> but \u017bu\u0142awski\u2019s Possession<\/em><\/a>). Nicholas Hoult is also a standout, zeroing in on the complicated eroticism and fear of his typically dull character, but Eggers is really the star; every image is suitable for framing, and every moment accumulates into a mosaic of darkness and dread<\/a>. (Includes audio commentary, extended cut and theatrical version, deleted scenes, and featurette.)<\/p>\n\n\n\n September 5<\/em><\/strong><\/a>: <\/strong>Tim Fehlbaum directs and co-writes this tight-as-a-drum control room thriller, set on the last day of the 1972 Munich Olympics, in which the games were taken over by a hostage situation in Olympic Village\u2014and the ABC Sports crew, which was only on hand to cover volleyball games and boxing matches, found themselves tasked with something entirely different. Peter Sarsgaard is in his best mode, the taciturn professional, as Roone Arledge, the ambitious sports producer who fought to keep the news division from taking over the story, but found himself and his team grappling with questions of journalistic responsibility they\u2019d never had to consider before. Gripping from top to bottom, and boasting impressive supporting turns from John Magaro, Ben Chaplin, and The Teachers Lounge<\/em> breakout Leonie Benesch. (Includes featurettes and Q&As.)<\/p>\n\n\n\n Last Summer<\/em><\/strong><\/a>:<\/strong> Ever the provacateur, writer\/director Catherine Breillat<\/a>‘s latest drama tackles the porn standby of seducing the stepmom and turns it inside out. L\u00e9a Drucker is terrific as a lawyer who bonds over one languid summer with her husband\u2019s 17-year-old son from a previous marriage, which goes from loaded glances and interactions to taboo-crossing. Breillat is refreshingly (but unsurprisingly) matter-of-fact about the sex itself, primarily conveying their intimacy via her careful framing; she also knows that there will be fallout, and doesn\u2019t softpedal or romanticize any of that, even when she risks turning us on her protagonist. It\u2019s a knotty, thoughtful, and unflinching. (Includes interview and trailer.) <\/p>\n\n\n\n