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 Sing Sing<\/em><\/strong><\/a>: <\/strong>Greg Kwedar\u2019s moving prison drama is, first and foremost, a showcase for the considerable talent and gravitas of Colman Domingo, who continues to prove himself one of the most gifted actors of our time. Kwedar and co-writer Clint Bently based their script on the factual Rehabilitation Through the Arts program at Sing Sing Maximum Security Prison, in which prisoners learn social skills and teamwork by staging plays for \u201cthe population,\u201d and much of the supporting cast is comprised of real-life alumni of the program. There is a plot, and it\u2019s well-developed\u2014Domingo is a founding member who feels pushed out by an intimidating new addition to the group\u2014but the picture thrives in its quiet moments and lived-in details. (Also streaming on Max<\/em><\/a>.<\/em>) (Includes audio commentary, deleted scenes, and featurettes.)<\/p>\n\n\n\n ON AMAZON PRIME:<\/strong><\/p>\n\n\n\n Twisters<\/em><\/strong><\/a>: <\/em><\/strong> While your correspondent was never exactly over the moon for the \u201996 Twister<\/em>, its specific lazy-weekend-cable-standby appeal<\/a> can\u2019t be denied. At its best, this sorta-sequel from Minari<\/em> director Lee Isaac Chung recaptures that appeal; it\u2019s a totally serviceable thrill ride, with a handful of spectacular set pieces and convincing \u201cvery bad weather<\/a>\u201d effects, and Chung is too good a director not to let a fair amount of Midwestern atmosphere drift in. The script is about as flimsy this time around, and unfortunately, star Daisy Edgar Jones doesn\u2019t have the kind of charismatic grit it would take to bring life to her paper-thin character. But Glenn Powell calls up all of his movie-star juice as her enemies-to-lover foil, and is good enough for both of them; executive producer Steven Spielberg\u2019s note to cut their climactic kiss<\/a> may be his worst call since agreeing to direct Ready Player One<\/em>.<\/p>\n\n\n\n ON 4K\/ BLU-RAY \/ DVD \/ VOD:<\/strong><\/p>\n\n\n\n Babygirl<\/em><\/strong><\/a>: <\/strong>Halina Reijn\u2019s provocative erotic drama knows what it\u2019s like to be inside a BDSM relationship, how it feels when the thing you need, on a basic and feral level, exceeds your control of it. Romy, the C-suite businesswoman played with skill by Nicole Kidman, knows (and the film does too) that she\u2019s potentially undercutting her job and jeopardizing her family, but as she puts it, \u201cThere has to be danger, there have to be things at stake.\u201d It\u2019s rare to find a filmmaker who even understands <\/em>that, much less is savvy enough to convey it within a dramatic narrative without seeming like they\u2019re making a movie about kamikaze pilots. Babygirl<\/em> falls apart a bit in the home stretch, when the conflicts and conclusions veer into the kind of conventional and predictable territory that, until then, Reijn has studiously avoided. But if she fumbles there, it\u2019s forgivable; what she achieves here far outweighs the mild shortcomings. (Also streaming on Max<\/em><\/a>). (Includes audio commentary, deleted scenes, and featurettes.)<\/p>\n\n\n\n