"Stephen Sondheim is responsible for many of the greatest musicals of the past half century; this odd, ultimately haunting collection of set pieces is my favorite. Take your pick between the original recording, with the great Victor Garber and Jonathan Hadary, or the 2006 revival with Michael Cerveris and Denis O’Hare. (Honorable mention: the original cast recording of “Les Misérables,” with the remarkable Colm Wilkinson.)"

"‘The Main Theme’ is one of the greatest pieces of music written for a movie. It’s so haunting, so beautiful, – full of pan flutes and stuff. It’s shattering y’know – like a Morricone theme. Oddly enough, ‘The Main Theme’ works really well, but they never play it over the opening credits. They play it over the middle and during the closing credits, which is very strange"

"Narrative films will never grow stale as long as filmmakers have tricks like Rashomon structures in their bag. Not only filled with fantastic acting, tremendous cinematography, and a haunting soundtrack, Rashomon attempts what great films always strive for—to express an inexpressible . . . in this case, the nature of truth, or . . . the nature of humans’ inability to realize the fallibility of their own perception, their own stories."

"Probably the most beautiful overall film/package combo in the Criterion Collection. Mizoguchi’s eerie, haunting, and elegant film is one of the most devastating morality plays I’ve ever seen, and it just might scare you into being a better person. It will most likely haunt you for quite a while. The design of the packaging is also really gorgeous. Most likely my favorite Criterion disc set."

"The tragedy of this movie strikes out of nowhere and yet remains completely inevitable, which is the best sort of storytelling. It captures how sex is dangerous in a visceral gut punch. Even though this is very much a period piece, the themes remain timelessly disturbing. And the haunting sound design of the clinking ice-covered branches stayed with me long after the film ended."

"For good measure, and because of its brilliance, I include Douglas Botting’s biography of Maxwell, as the Germans say, “in partnerlook.” An immersive portrait of a fascinating and haunting man, traveler, naturalist, shark fisherman, art historian, bon viveur, classical romantic adventurer and tragic hero of his own high drama. A great life story, written by a friend, of a life lived with legendary vigor, idealistic courage and a heartbreaking undertow."