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 You Can Count on Me<\/em><\/strong><\/a>:<\/strong> If I may get a little personal: I saw Kenneth Lonergan\u2019s 2000 debut feature upon its release, at age 25, and felt it was fine. Now another 25 years have passed, and I\u2019ve revisited it for the first time, and suffice it to say it is considerably better than fine; it\u2019s a devastatingly wise and often uncomfortably truthful meditation on family, adulthood, and the various ways in which we never really change. Laura Linney is as excellent as ever \u2014 this really felt like the performance that solidified what a magnificent film actor she is \u2014 and Mark Ruffalo\u2019s electrifying performance as her perpetual screw-up brother is a startling reminder of what he can do with a director who knows how to use him. (Includes audio commentary, interviews, trailer, and essay by Rebecca Gilman.) <\/p>\n\n\n\n ON 4K \/ BLU-RAY \/ DVD \/ VOD:<\/strong><\/p>\n\n\n\n The Phoenician Scheme<\/em><\/strong><\/a>:<\/strong> One day, we will look back at how Wes Anderson was taken for granted, how so many film critics and film fans saw his prolific output and distinctive style as a bug rather than a feature, and wonder what on earth they were collectively smoking. Yes, his latest features his signatures<\/a>: a fussy yet enthralling sense of composition, marvelously intricate production design, jazzy camera movement, an expansive but impressive ensemble cast, and quotable dialogue. But as he always does, he\u2019s also trying new things \u2014 and saying<\/em> new things, subtly baking questions of legacy, family, and honesty into this wickedly funny globe-trotting adventure. Benicio del Toro is magnificent in the leading role, but newcomer Mia Threapleton steals the show with her bone-dry line readings and A+ comic timing. (Includes featurette.)\u00a0<\/p>\n\n\n\n Pavements<\/em><\/strong><\/a>:<\/strong> Director Alex Ross Perry explains, early in his film Pavements<\/em>, that he wanted to see what would happen if he put their \u201cslacker songs\u201d into \u201cthe most sincere art form\u201d imaginable: musical theater. One could argue that he also puts them into the second most sincere art form as well \u2014 the musical bio-documentary, and in that case, it\u2019s not done for the sake of irony. Perry\u2019s film begins with the idea that Pavement is \u201cthe world\u2019s most important and influential band,\u201d and follows four strands commemorating them: a documentary profiling their history as they prepare for a 2022 reunion tour, their first shows in 12 years; a jukebox musical featuring their songs; a pop-up museum exhibit of artifacts and ephemera; and a Bohemian Rhapsody<\/em>-style big-screen biopic. All but the first of those strands is basically fiction, creations by Perry invented for inclusion on the film, sending up the pretensions of these forms (and the fawning press that typically surrounds them). It all requires a delicate balance, in which much but not all of it can feel like a smug in-joke, but Perry pulls it off; his affection for the band is clearly genuine, and that affection makes the rest of the contraption feel somehow legit. (Includes audio commentary, Q&A, deleted scenes, and featurettes.) <\/p>\n\n\n\n ON BLU-RAY \/ DVD \/ VOD:<\/strong><\/p>\n\n\n\n Ghostlight<\/em><\/strong><\/a>: <\/strong>This drama from directors Kelly O\u2019Sullivan and Alex Thompson (Saint Frances<\/em>) is so modest in its aims and so subtle in its execution that you might not realize how well it\u2019s working, or even what it\u2019s doing, until it absolutely clobbers you towards the end. Keith Kupferer stars as a construction worker and family man who is dealing with the recent death of his teenage son in the manner that men of his age and class are expected to: by bottling it up, putting his head down, and being \u201cstrong.\u201d But, by a peculiar turn of events, he finds himself acting in a no-budget community theater production of Romeo & Juliet<\/em>, where he finds the tragedies of his life informing his interpretations of the tragedies on stage. It all sounds pat and predictable, and it\u2019s not that it isn\u2019t; it\u2019s that it\u2019s all written, directed, and acted with such sensitivity and emotion that the \u201cwhat\u201d matters less than the \u201chow.\u201d (Also streaming on Hulu<\/em><\/a>.) (Includes audio commentary, deleted and extended scenes, audition footage, and essay by Marya E. Gates.) <\/p>\n\n\n\n