"Years ago, during those quaint days of DVD-by-mail rental, I made a dork pact with one of my friends that for several weeks straight we’d only watch films in the Criterion Collection. Additionally, they had to be films we didn’t know much about. The experience was a total revelation. There were so many amazing films that I discovered during those weeks that made me really rethink a lot of what I thought I knew about the history of cinema. Films like Ballad of a Soldier, Death of a Cyclist, René Clair comedies like À nous la liberté or Le million, American indie landmarks like Symbiopschycotaxiplasm and the stunning Ermanno Olmi pair from the early 60s Il posto and I fidanzati. But the one from this period that I always recommend to friends is Green for Danger, a delightful British murder mystery that I had never heard of."

"To prove that I mean it when I say “four-way tie,” I’ll start with the last one, Kicking and Screaming, a movie I can recite from start to finish. You know, in case you’re ever in the mood for an hour-long party trick. Actually, I wrote an essay about my love for it for the New York Observer when the Criterion Collection released the DVD and raced to fill out the crossword puzzle like a regular dork. Two words: Broken glass. Meanwhile, Whit Stillman’s Metropolitan is a seminal movie for me and a whole bunch of other people of my generation. Speaking of party tricks, evoking empathy for Upper East Side WASPs is a good one. Same with Barcelona. The reason these four are grouped together is because of their supreme ability to capture the cadence of youth and young adulthood. They display floundering without being floundering. This is the hardest thing to achieve, in any format, and Linklater makes it look easy."

"To prove that I mean it when I say “four-way tie,” I’ll start with the last one, Kicking and Screaming, a movie I can recite from start to finish. You know, in case you’re ever in the mood for an hour-long party trick. Actually, I wrote an essay about my love for it for the New York Observer when the Criterion Collection released the DVD and raced to fill out the crossword puzzle like a regular dork. Two words: Broken glass. Meanwhile, Whit Stillman’s Metropolitan is a seminal movie for me and a whole bunch of other people of my generation. Speaking of party tricks, evoking empathy for Upper East Side WASPs is a good one. Same with Barcelona. The reason these four are grouped together is because of their supreme ability to capture the cadence of youth and young adulthood. They display floundering without being floundering. This is the hardest thing to achieve, in any format, and Linklater makes it look easy."

"To prove that I mean it when I say “four-way tie,” I’ll start with the last one, Kicking and Screaming, a movie I can recite from start to finish. You know, in case you’re ever in the mood for an hour-long party trick. Actually, I wrote an essay about my love for it for the New York Observer when the Criterion Collection released the DVD and raced to fill out the crossword puzzle like a regular dork. Two words: Broken glass. Meanwhile, Whit Stillman’s Metropolitan is a seminal movie for me and a whole bunch of other people of my generation. Speaking of party tricks, evoking empathy for Upper East Side WASPs is a good one. Same with Barcelona. The reason these four are grouped together is because of their supreme ability to capture the cadence of youth and young adulthood. They display floundering without being floundering. This is the hardest thing to achieve, in any format, and Linklater makes it look easy."

"To prove that I mean it when I say “four-way tie,” I’ll start with the last one, Kicking and Screaming, a movie I can recite from start to finish. You know, in case you’re ever in the mood for an hour-long party trick. Actually, I wrote an essay about my love for it for the New York Observer when the Criterion Collection released the DVD and raced to fill out the crossword puzzle like a regular dork. Two words: Broken glass. Meanwhile, Whit Stillman’s Metropolitan is a seminal movie for me and a whole bunch of other people of my generation. Speaking of party tricks, evoking empathy for Upper East Side WASPs is a good one. Same with Barcelona. The reason these four are grouped together is because of their supreme ability to capture the cadence of youth and young adulthood. They display floundering without being floundering. This is the hardest thing to achieve, in any format, and Linklater makes it look easy."

"These are all films vying for my favorite film. The thing I love about all the films I chose for the list is that they still feel extraordinarily fresh, as if they were made yesterday. There’s a timeless quality to them and a vibrancy and an energy to all of them, but particularly A Hard Day’s Night really struck me, being a huge fan of rock and roll. It’s a film that really defies any sort of — it’s difficult to put it into a specific genre — it’s a rock and roll film, right? It’s also sort of like a documentary of the early years of Beatlemania, and it’s also comedically like a Marx Brothers film. I just love the combination of all of those things, which give it an intense vibrancy and charm. Also these are five films that I watch at least once a year. I always come back to them and the Criterion collection just restored [Hard Day’s Night]. It was a marvel to see it restored and how beautiful a movie it is."

"I’ve been going through Scenes from a Marriage, the Bergman miniseries, and getting very invested. I think it’s the truest-to-humanity thing I’ve ever seen. I mean, every single person you’d like, or care about as a filmmaker in the past 50 years is influenced by Bergman. He is the ultimate genius when you watch those movies. Nothing’s better than the performances in (these) movies. I feel like Bergman’s movies can come across as being cold and hopeless, but it’s Liv (Ullmann) and all the women stars he made films about that took his sensibility and turned it on his head, making it more nuanced, lush, and beautiful. It’s (the women) being thoughtful and kind, and open, that makes the difference. Everyone reading should go to the Criterion Channel to watch the Bergman collection. I mean, the movies are short, and I am sure that just watching those short movies they’ll get really inspired, without a doubt. You know, think of Persona... nothing comes close to that!"

"I’m going to end this list with a request that you also seek out Kurosawa’s Dreams after you see this movie. Dreams is my absolute favorite film of all time, and when you bookend it with Ikiru, the experience is quite amazing. Ikiru is the story of a long-tenured public servant who discovers he only has a year to live. He makes a last-ditch effort to bring meaning to his existence by working tirelessly to build a children’s playground. It is the work of an artist feeling he has not done enough substantive work in his life—a romanticized notion that our daily routine is often meaningless save for a few charitable acts. It is our fears as a young mind. Over the years, Kurosawa would endure a tumultuous career that nearly ended in an act of attempted suicide. Now consider Dreams, a film coproduced by Steven Spielberg and featuring Martin Scorsese in a cameo as Vincent Van Gogh. These filmmakers, along with George Lucas, would rally behind Kurosawa in the ’80s and help him make a comeback with Kagemusha and Ran (both on Criterion), winning him a Palme d’Or and an Academy Award nomination while also bringing back to light his incomparable portfolio of works (Lucas would very often recount how The Hidden Fortress was the narrative inspiration for Star Wars). Dreams, to me, feels a bit like a representation of the playground that Kurosawa built through his works, and the children he inspired coming out to thank him for it. I can watch this movie again and again forever. Criterion has an amazing collection of twenty-five films by Kurosawa. I cannot recommend watching his entire body of work highly enough, as it is perhaps the best documentation of a commercial artist in the modern age."

"All this talk about bonus features has made me think we need to talk about extras! I apologize, but I’m gonna deep-dive for a sec. It’s just that the special features are such key ingredients to some of these amazing Criterion titles and have become such an essential part of my own viewing experiences. There are stunning extras in the Criterion Collection that I often think about as important additions to the history of movies. So don’t get me started, or I’m going to start blabbing about the piles of amazing extras on Barry Lyndon (which fill two Blu-rays!). Or the amazing documentaries on 8½ and Seven Samurai and Brazil. Or The Game, with its eight different audio commentaries. Or that concert film in the edition of Inside Llewyn Davis. Or every Andrea Arnold short film on Fish Tank. Or that Cronos supplement where Guillermo del Toro gives a nerdgasm tour of his bonkers house. (I told you: don’t get me started.) But I think my all-time favorite bonus feature is Charles Laughton Directs “The Night of the Hunter,” a two-and-a-half-hour documentary that has to go down as one of the most interesting behind-the-scenes films ever made. I had never even heard of this until I picked up the Night of the Hunter disc. It literally shows something that I’ve never seen before: tons of footage of a director in the midst of working with his actors during takes. While actors are performing, you hear Charles Laughton (a legendary actor directing his only film) guiding the cast through every line in basically every shot, take after take after take. It’s like being on set next to a perfectionist director while he meticulously sculpts the performances in his masterpiece. (And oh, poor Shelley Winters. “Do it again! Do it again! Less air in between! Go ahead Mitch! Look at her! Shelley, look up now and say ‘blessss ussss all.’ Yes, that’s it, Shelley!!”)"

"It was my daughter Tiffany who made me see the beauty of this film—she loved it so much as a child, and I think in many ways it spoke to her on the difficult choice for women artists between art and love, a calling of career and the calling of the heart. The Technicolor restoration of the film is stunning. This was one of the early titles in the Criterion Collection, and it’s just gorgeous. The DVD production was helped along with the loving hands (certainly one of my favorite pair of hands on earth) of film editor Thelma Schoonmaker, Michael Powell’s widow.There’s fantastic commentary with cinematographer Jack Cardiff and Ian Christie, as well as Martin Scorsese, a close, dear friend of Powell’s. And actress Moira Shearer gives such a wonderful account of the feelings of awe and fear of the dancers around working with living ballet legend Leonide Massine . . . and how in spite of this, she and Massine came to get on like a house on fire. He would fill her with the most amazing tales of his life in the last true golden age of ballet with the great dance impresario Sergei Diaghilev—I cannot even imagine what a thrill these hours of conversation must have been!"