I talked about its UK release almost precisely three months ago, and it’s now finally making its way to U.S. stores. I’m talking about the special edition of Michael Mann’s magnum opus, Heat, complete with a new cut, a new 4K restoration, new and old bonus features, and a cover that crushes its UK equivalent like a grape. You can even buy in the morning/afternoon and watch it as a prelude to FX’s premiere of the Blackhat director’s cut (I briefly considering skipping doing this and making this morning’s post a “Cable pick” about the Blackhat DC, but I’ll instead remind you of it here).

Moving on, new titles are kind of a crying shame this week, with one good movie (Mia Hansen-Love’s Things to Come, with Isabelle Huppert’s other transcendent 2016 performance), two bad one (Fifty Shades Darker and the long-delayed A Fantastic Fear of Everything), and two okay seasons of TV. Catalog titles, however, have some goodies this week. The Warner Archive Collection brings us Lawrence Kasdan’s The Accidental Tourist and Terry Richardson’s The Loved One (shot by the late, great Haskell Wexler), Flicker Alley gives us a sampler of the work of early female filmmakers, Arrow releases the very goopy horror-comedy Brain Damage, Kino scrapes up some of the Jacques Demy that Criterion didn’t get to with a release of his Donovan-starring retelling of The Pied Piper, and Criterion still upstages them with their upgrade of Chantal Akerman’s masterpiece, Jeanne Dielman. And yet I really want to talk about Scream Factory, because this week they bring us a film I somewhat inexplicably hold near and dear. It’s not John Waters’ Serial Mom, although it’s undoubtedly a blessing that they’re bringing that to U.S. Blu-Ray. No, it’s Gus Van Sant’s Psycho remake, an experimental film crossbred with a film studies paper that somehow got released by a major studio. It’s obviously not anywhere near as “good” as the original, but does the original have Christopher Doyle, that improvisational bastard, stuffing himself into the corset of another film’s cinematography? Or the sight of a queer cinema pioneer making Norman Bates more evil by making him straighter? Or appearances by Flea and James Le Gros? Or a surprisingly strong supporting cast to make up for the deeply miscast Marion and Norman (hell, I might even think Viggo Mortensen and Julianne Moore are better in their parts than John Gavin and Vera Miles were, please don’t @ me)? Or a thank-you to John Woo “for his kitchen knife” in the credits? I think not.

The Accidental Tourist (Warner Archive Collection)
Brain Damage (Arrow)
Divorce: The Complete First Season (HBO)
Early Women Filmmakers: An International Anthology (Flicker Alley)
A Fantastic Fear of Everything (Shout Factory)
Fifty Shades Darker (Universal)
Heat (Fox)
The Indian Fighter (Kino)
Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles (Criterion)
Kiju Yoshida: Love + Anarchism (Arrow)
The Loved One (Warner Archive Collection)
Making Contact (Kino)
Orange Is the New Black: Season Four (Lionsgate)
The Pied Piper (Kino)
Psycho (Shout Factory)
Serial Mom (Shout Factory)
Things to Come (IFC)