"One of the most profound themes coursing throughout Sonbert's work is that of love between couples in all its pitfalls and perfect moments. To express this theme between his protagonists onscreen as well as in the relationship between his ever-roving hand-held camera and the human subjects in his field of vision, Sonbert employed diverse cinematic strategies, including in-camera editing (in THE BAD AND THE BEAUTIFUL), twin-screen effects (in TED AND JESSICA), and montage of discrete shots filmed in distinct spaces (in HONOR AND OBEY).

"'Whatever manipulative games the filmmaker plays in THE BAD AND THE BEAUTIFUL are not just film games (except of the most obvious kind) so much as human games, similar to those probably everyone engaged in worldly activity plays to some extent or another; and it is the deeper honesty of Sonbert's presentation not only to include these but to make them plain.' (James Stoller, The Village Voice, January 25, 1968)" - Jon Gartenberg