A strong week highlighted by Criterion’s rescue of Joan Micklin Silver’s Chilly Scenes of Winter and Fun City Editions not just restoring the canonical Parker Posey vehicle Party Girl, but giving it its first-ever home video release in its original aspect ratio. Fun City and various other Vinegar Syndrome offshoot labels can be counted on for interesting and often important releases maybe more than Criterion can now, and I know because they’re not the company putting Freeway II: Confessions of a Trickbaby, the first and (so far) only Natasha Lyonne and Vincent Gallo collaboration, out on 4K.

This week also sees the release of what was somehow one of two (maybe three) movies that the Academy gave a shit about this year, the Netflix All Quiet on the Western Front which I have not heard a single good word about except as an adequate carnage delivery system, and also one of the most debilitating This Had Oscar Buzz wipeouts of recent memory. I still have not seen The Son, and as a strong supporter of Florian Zeller’s work on The Father I’m both curious and anxious about what could’ve possibly gone wrong to make this the subject of universal revulsion.

All Quiet on the Western Front 4K (MPI)
Black Sunday (Arrow)
Breathless (1983) (Fun City Editions)
Chilly Scenes of Winter (Criterion)
Dawson’s Creek: The Complete Series (Mill Creek)
Dead Silence 4K (Shout Factory)
The Exorcist III 4K (Shout Factory)
The Five Days 4K (Severin)
Freeway II: Confessions of a Trickbaby 4K (Vinegar Syndrome)
If I Had a Million (Kino)
Knockabout (Arrow)
The Lighthouse 4K (A24)
Meet Me in the Bathroom (Utopia)
Missing (Sony)
Party Girl (Fun City Editions)
Plane 4K (Lionsgate)
The Son (Sony)
Wanted 4K (Shout Factory)
Wild Reeds (Altered Innocence)