There’s a lot to talk about this week, and because I’m me, I’ll start with the 4K upgrades of the Ocean’s trilogy, a long-awaited improvement on the DVD-era transfers that have been the only way of watching them in HD (this is the first time those immaculate David Holmes soundtracks are being presented in lossless audio). But there’s never been any difficulty finding those movies on home video, which is much more than can be said about the other “S” filmmaker with multiple films out this week. Last week, Nancy Savoca’s oddball family epic Household Saints was finally rescued from home-video purgatory, and this week sees reissues of the two films she made before it, True Love and Dogfight. Dogfight is easily Savoca’s best-known film, still underseen but most everybody who’s seen it falls in love with it for all time. It’s close to the peak of both Lili Taylor, who got many more opportunities to live up to this promise (including Household Saints), and River Phoenix, who didn’t. It starts with the cruelest boys-will-be-boys plot imaginable, but it gets progressively sweeter and quieter until its epilogue creates a seismic emotional response out of 20% of the dialogue that any other movie would use for it. Its ratio of pain to romance is neatly flipped in True Love, a romantic comedy about a marriage (between Ron Eldard and Annabella Sciorra, the latter incredible in her very first film role) that is collapsing before it can even make it to the finish line. Both films show a keen eye for little moments of human nature (Savoca was mentored by Jonathan Demme and John Sayles and carries on both their examples) and a particular insight, as so many women directors have, on the simultaneous poisonousness and innocence of male friendships.

There’s so much else. There’s a good selection of cult oddities including Jobe’z World, hailing from the same New York underground stew as the Safdies (Sean Price Williams makes it look great and Crayola-colored) and playing like a funny pisstake on Good Time and many other one-crazy-day thrillers like it. There’s yet more evidence that it’s leaving a lot of money on the table keeping shows on streaming services without disc releases, even for a show as thoroughly forgotten as Moon Knight, the Oscar Isaac/Ethan Hawke showdown every Paul Schrader fan was asking for from their monkey’s paw. There’s 4Ks of both Mean Girlses, the original I only watched for the first time a few months ago; funny stuff, Amanda Seyfried is a genius, and I hope the musical doesn’t leave out the Walker Bros. joke. There’s Madame Web, beloved by audiences and critics alike as easily the Shoshiest superhero adventure yet. There’s Alan Pakula directing the first James L. Brooks screenplay. And there’s Ordinary Angels, a Christian Hilary Swank inspirational story that I wouldn’t have given a second thought before I learned about its writers: Kelly Fremon Craig (only her second credited screenplay in the years since Edge of Seventeen) and Meg Tilly of this fame.

Andor: The Complete First Season 4K (Disney)
Basket Case 4K (Arrow)
Bluebeard (Kino)
The Boss (not the Melissa McCarthy one) (RaroVideo)
The Church 4K (Severin)
Death and the Maiden (Shout Factory)
Dogfight (Criterion)
Dr. Terror’s House of Horrors 4K (Vinegar Syndrome)
The Falcon and the Winter Soldier: The Complete First Season 4K (Disney)
The Getaway (the Alec Baldwin/Kim Basinger one) (Shout Factory)
Gods of Mexico (Oscilloscope)
Jobe’z World (Factory25)
The Last Slumber Party (AGFA)
Lola (2022) (Severin)
Madame Web 4K (Sony)
Mean Girls 4K (Paramount)
Mean Girls 4K (Paramount)
Moon Knight: The Complete First Season 4K (Disney)
Obi-Wan Kenobi: The Complete Series 4K (Disney)
Ocean’s Trilogy 4K (Warner)
Ordinary Angels (Lionsgate)
The Promised Land (Magnolia)
Starting Over (Kino)
The Tin Star (Arrow)
True Love (Kino)