Brad

May 17, 2017 — Welcome to the first entry of the Daily at the Criterion Collection. For those of you who don’t know me, since 2003 I’ve been gathering links to essential—or simply fun—reading, news stories, and items of interest into a sort of...

Feb 24, 2017 — Did You See This? In an excerpt from his new book This Young Monster, Charlie Fox considers the “fearsome lucidity” of Rainer Werner Fassbinder: “There were no signs of a drooling id let loose or canny subterfuge between his public...

Dec 13, 2016 — John Huston’s meticulously calibrated crime film combines nail-biting suspense with a mood of Chekhovian regret.

Nov 25, 2015 — Akira Kurosawa's 1952 film about one man’s mortality offers a study in postwar Japan, Kurosawa vs. Ozu, and the realization that knowing how to die requires learning how to be alive.

Oct 9, 2015 — Guy Maddin and his filmmaking partner Evan Johnson dropped by the Criterion kitchen to talk about their new film, The Forbidden Room.

Apr 26, 2011 — At once prestigious literary adaptation and slap­stick buddy flick, this is something like a lowbrow art film, an egghead monster movie, a hilarious paean to reckless indulgence, and perhaps the most widely released midnight movie ever made.

Jun 3, 2009 — We’ve pieced together comments from production designer Donald Burt and property master Hope Parrish of working with the supermeticulous and precise David Fincher on perfecting the atmosphere and historical accuracy of The Curious Case of Benjamin Button. You can click...

Jun 2, 2009 — If you’ve seen John Huston’s wild Wise Blood, then you might want to know more about Flannery O’Connor, from whose debut novel the film is faithfully adapted. A good place to start would be Brad Gooch’s Flannery: A Life of...

May 11, 2009 — Novelists learn not to expect too much when their books are made into movies. Obviously, great fiction has been turned into great cinema, but the dents and scrapes that so many classics have sustained on the rocky road from the...

May 5, 2009 — Every second of David Fincher’s uncanny drama—every shot and every cut, every gesture and every facial expression, every turn in its narrative and every visual effect—is devoted to the contemplation of time’s passing.