Joey’s Home Movies For the Week of October 5th – Revisit ‘Godzilla Minus One’ in 4K

Welcome back to my Home Movies! This week, we have a couple of big blockbusters getting 4K SteelBook editions in Disclosure Day and Godzilla Minus One. Given that I just highlighted the former in the column back in August and have been on the record about loving Steven Spielberg‘s latest, the latter is today’s top pick. Also hitting shelves are a number of other 4K re-release, as well as something new for The Criterion Collection. What might they be? Read on to find out…

Joey’s Top Pick

Godzilla Minus One (4K SteelBook)

With Godzilla Minus Zero hitting theaters in exactly a month (my review of the movie from the New York Film Festival is here), now is a perfect opportunity to revisit this relaunch of the Godzilla franchise. A back to basics approach for this flick, as well as some remarkable visual effects, made this a real breath of fresh air for the series. The sequel is bigger, and even in some ways better, but this feels like more of the surprise. The film has an emotional core that mixes with big blockbuster to form something truly memorable. If you’re a fan, or have been meaning to pick this up, the SteelBook option is a big way to bring Godzilla home with you.

Also Available This Week

An American Werewolf in London (4K)

Blades of the Guardians: Wind Rises in the Desert 

Convoy (Blu-ray)

Disclosure Day (4K SteelBook)

Harry Potter: 8-Film Collection (4K)

Hazbin Hotel: Season Two (TV)

Jackass: Best and Last

Late Fame

Little Shop of Horrors (4K SteelBook)

The Madison: Season One (TV)

Moana

Peter Asher: Everywhere Man

Criterion Corner

Welcome II the Terrordome

From The Criterion Collection: “Ngozi Onwurah’s radically ahead-of-its-time dystopian sci-fi film Welcome II the Terrordome—the first theatrically distributed British feature by a Black woman—furiously evokes a near future in which Black people are segregated within a slum called the Terrordome, where simmering violence and anger threaten to boil over in the wake of a young boy’s murder. Named after an incendiary single by Public Enemy, the film uses its rap soundtrack to both comment on and drive its narrative, part of a sensibility in which American, British, and African cultures collide and the past, present, and future collapse. In this prescient work, Onwurah builds a visionary, Afrofuturist cosmology that connects the history of slavery to modern-day systemic racial brutality.”

Stay tuned for more next week…