It’s time to take-a-look back at the Oscar-nominated films of 2017 available on Blu-ray and standard DVD. Of the nine films nominated for Best Picture, all but The Post, which is coming out next week, have been released. Phantom Thread is releasing today. By now, you should have had ample opportunity to see the other seven, either in theaters or on home video.

The Shape of Water was Oscar’s favorite film of the year, and it’s a good one, coming in fourth on my personal list behind Three Billboards Outside Ebbing, Missouri, Call Me by Your Name, and Lady Bird

Three Billboards Outside Ebbing, Missouri, like my favorite film of the previous year, Manchester by the Sea, is about mourning and the way in which different people deal with grief. That’s a tough subject for a film, which only once in Oscar’s so far 90-year history resulted in a win when Ordinary People took home the award for Best Picture of 1980. It is, however, a great subject for actors and screenwriters to win with. Actor Timothy Hutton and screenwriter Alvin Sargent won for Ordinary People as did actor-turned-director Robert Redford. Actor Casey Affleck and writer Kenneth Lonergan won for Manchester by the Sea, and actors Frances McDormand and Sam Rockwell won for Three Billboards Outside Ebbing, Missouri. The directors of those films also did well, not just with Redford winning in 1980, but with writing winner Lonergan being nominated for his direction as well, and Martin McDonagh winning enough other major awards to compensate for losing the writing award to Get Out‘s Jordan Peele while missing out on a directorial nod as well.

Call Me by Your Name and Lady Bird are both coming-of-age films, another drama sub-genre that is poorly represented in the history of Best Picture Oscar winners. It has never been the central theme of any Oscar winner, although it has been a subordinate theme in such disparate winners as All Quiet on the Western Front, Gigi, Ordinary People (again), Platoon, and Slumdog Millionaire. The Shape of Water, however, is unique in that it is the first science-fiction film to win.

Of the other three Best Picture nominees already released on home video, Get Out, a horror film with wry, comic undertones, is the most unusual of the nominees in that horror films are a rare breed as well. The only horror film to have won Best Picture is The Silence of the Lambs. The other two nominees, Dunkirk and Darkest Hour, are a war movie and a biography, respectively.

Beyond the Best Picture nominees, films with acting nominees that are available include Roman J. Israel, I, Tonya, and The Florida Project as well as All the Money in the World, which releases today.

Of the three that have been available for a while, I think that Roman J. Israel is vastly under-rated, while both I, Tonya and The Florida Project are over-rated. The first half of Roman J. Israel is riveting with a strong performance from Denzel Washington that dissipates a bit in the second half, but nevertheless remains interesting. I, Tonya is like one overlong Saturday Night Live skit to me. The Florida Project tries, but aside from Willem Dafoe’s heartfelt performance, doesn’t amount to much.

Films with writing nominations, but not picture, directing, or acting nominations, include the previously released The Big Sick, The Disaster Artist, and Logan, as well as Molly’s Game, which is releasing today.

The Big Sick is a sweetly done unconventional comedy that deserved more than its lone Best Original Screenplay nomination, that should be seen, not just for its sly wit, but for the superb supporting performances of Holly Hunter and Ray Romano as Zoe Kazan’s charming parents. The Disaster Artist is as funny as it is bizarre. Logan is an intelligently written end to a franchise with strong performances from Hugh Jackman and Patrick Stewart.

I have never been the biggest fan of animated films, but I found the Oscar-winning Best Animated Feature of 2017, Coco, to be not only one of the best of its genre, but one of the best films of the year, period. It is a musical, a fantasy, and best of all, a heartfelt family film in which its Oscar-winning theme song “Remember Me” hammers home the film’s message that no one is truly dead as-long-as they are remembered. The film’s toughest competition for Best Animated Feature, Loving Vincent, is also worth checking out, as is its toughest competition for Best Song, The Greatest Showman, which releases today.

Other Oscar-nominated and/or winning films in other categories that are worth checking out on home video include Blade Runner 2049, War for the Planet of the Apes, and Star Wars: The Last Jedi, all of which should be seen on a theatre size screen, but work almost as well on large screen TVs. Smaller scale Oscar-nominated films such as Victoria & Abdul and Wonder play perfectly well on all TVs.

Among those 2017 films that Oscar passed over, there are many available on home video that every true cinema fan should make it their business to see. These include the wonderful Indian reservation-set mystery Wind River; the excellent French remake of Ernst Lubitsch’s Broken Lullaby, renamed Frantz; and the better-than-Dunkirk and Darkest Hour reenactment of those dark, early World War II days in Britain, Their Finest.

Biographies were big in 2017. Better than watching Gary Oldman yelling and screaming in his fat suit in Darkest Hour were Charlie Hunnam as explorer Percy Fawcett in The Lost City of Z; Cynthia Nixon as poet Emily Dickinson in A Quiet Passion; Annette Bening and Jamie Bell as actors Gloria Grahame and Peter Turner in Film Stars Don’t Die in Liverpool; Domhnall Gleeson as writer A.A. Milne and Will Tilson and Alex Lawter as his titled son in Goodbye Christopher Robin; and Sally Hawkins as beloved folk artist Maud Lewis in Maudie.

This week’s new releases include Phantom Thread and All the Money in the World.