Film at Lincoln Center has written 341 reviews for films during 2018.

  • Sólo con tu pareja

    Sólo con tu pareja

    Cuarón’s mastery of rhythm and space was already evident in his debut feature. In this screwball comedy, an ad copywriter (Daniel Giménez Cacho, from Bad Education and Zama), tasked with brainstorming a slogan for jalapeño peppers, avoids writer’s block by compulsively sleeping with seemingly every woman he meets . . . to the point that he’s shuffling along his building’s exterior ledge between unsuspecting partners in separate flats. Soon after realizing she’s been duped, one of his lovers—a nurse with…

  • Great Expectations

    Great Expectations

    Cuarón’s boldly expressionist take on Great Expectations resounds with a visceral immediacy. Ethan Hawke plays the film’s modernized Pip, rechristened as Finn, a budding painter raised by his elder sister and her boyfriend (Chris Cooper) in working-class coastal Florida. When a gallery owner in New York offers Finn a solo show out of the blue, he travels north to pursue his art and the memory of his first love (Gwyneth Paltrow), now firmly embedded among Manhattan’s elite. With original artwork…

  • Gravity


    Winner of seven Oscars, Cuarón’s riveting Gravity is a taut 90-minute emotional journey, captured with breathtaking and groundbreaking effects. Sandra Bullock, who holds the screen alone for much of the film, delivers a layered performance as a scientist on her first trip to space. The film’s much-discussed opening long take sets the scene: what starts as routine spacewalk peppered with witty banter, courtesy of a veteran astronaut played by George Clooney, quickly turns into turbulent, gut-wrenching ride. From there, Gravity becomes a story of isolation and survival in the unforgiving realm of outer space.

    Playing in 3D on Jan. 5 & 7 during our retrospective.

  • Harry Potter and the Prisoner of Azkaban

    Harry Potter and the Prisoner of Azkaban

    The honeymoon glow of the wizarding world has begun to fade as Harry enters his third year of studies at Hogwarts, and Cuarón engineered the aesthetic pivot that would dictate the style guide for the remaining films: a cold-color palette emanating a darkness that must be offset by light from within. The Prisoner of Azkaban also covers crucial narrative ground from the books—Cuarón gets to introduce dementors and hippogriffs, new professors played by Emma Thompson and David Thewlis, and the…

  • A Little Princess

    A Little Princess

    Alfonso Cuarón beautifully adapts the classic story by Frances Hodgson Burnett about young Sara Crewe (Liesel Matthews), sent from her home in India to a New York boarding school when her father leaves to fight in WWI. Her engaging spirit and imagination win her many friends, and one enemy: the headmistress Miss Minchin (Eleanor Bron). Miss Minchin tolerates Sara only because of her father’s wealth, so when he disappears, his estate taken by the government, Sara is consigned to a…

  • Easy Living

    Easy Living

    Money, sex, and football: the three cornerstones of American life spell doom in Tourneur’s tough, subversive anti-marriage melodrama. Victor Mature is a star quarterback with a fatal heart condition who’s willing to risk death on the field to give his power-hungry wife (Lizabeth Scott) the life she wants, even as she pursues a sordid affair with a Wall Street sugar daddy. Co-starring Lucille Ball—who delivers some of the film’s most memorable moments as a hard-nosed working girl spouting world-weary cynicisms—Easy Living is a Sirkian sports movie with a dark noir undercurrent.

    Playing on December 30 & January 3.

  • They All Come Out

    They All Come Out

    What began as a documentary on federal prisons became Tourneur’s first Hollywood feature: a punchy, crime-doesn’t-pay gangster saga shot on location in penitentiaries across the country (including Alcatraz). Anticipating his most famous role in Detour, Tom Neal plays a down-and-out drifter who, along with a hard-boiled moll (Rita Johnson), journeys from the depths of the criminal underworld through the “rehabilitative” American penal system. Displaying his facility for wringing maximum atmosphere from a B budget, Tourneur imbues the film with a shadow-splashed, proto-noir look and caps things off with a knockout bit of brutality involving a blowtorch.

    Playing on December 27 & 31.

  • The Comedy of Terrors

    The Comedy of Terrors

    Produced by American International Pictures as a follow-up to Roger Corman’s hit The Raven, this marvelously goofball horror spoof brings together a dream team of genre greats: Vincent Price as a boozehound undertaker who takes matters into his own hands when the dead body business dries up; Peter Lorre as his much-kicked-around assistant; Boris Karloff as a doddering, dearly hated father-in-law; and, out-hamming them all, Basil Rathbone as a Shakespeare-spouting would-be victim who just won’t die. Tourneur’s smoothly atmospheric style provides an ideal canvas for his stable of veteran scene-chewers to let loose their mischievous screwball interplay.

    Playing on December 26 and 31.

  • War-Gods of the Deep

    War-Gods of the Deep

    Tourneur’s final film is a continuation of American International Pictures’ hugely successful Edgar Allan Poe cycle, loosely based on a poem by the author. Vincent Price plays the diabolical overlord of a secret city beneath the sea who holds a trio of unfortunates hostage in his aquatic lair where time stands still and an underwater volcano threatens to blast them all to smithereens. Despite the comic book plot and charmingly campy rubber-suited gill-men, this imaginative, Jules Verne-esque fantasy is intriguingly Tourneurian in its evocation of a world ruled by chaos and sinister, irrational forces.

    Playing on December 26 and January 2.

  • The Giant of Marathon

    The Giant of Marathon

    Like so many other veteran Hollywood filmmakers in the 1950s, Tourneur decamped for Italy to direct this sword-and-sandal spectacular. The Herculean physique of bodybuilder turned international peplum icon Steve Reeves stars as Philippides, an ancient Greek Olympic hero who must navigate traitorous political machinations and wily seduction schemes as he leads the Athenian charge against the Persians in the Battle of Marathon. Shot and partially directed by Mario Bava—who helmed the film’s striking, hallucinatory underwater fight sequences—La Battaglia di Maratona is a fascinating union between Tourneur’s understated refinement and the Italian maestro’s boldly stylized vision.

    Playing on December 26 and 30.

  • The Fearmakers

    The Fearmakers

    The “fearmakers” in the title of Tourneur’s rarely screened Red Scare thriller are communist elements that, having wormed their way into a major Washington PR firm, go about trying to convert the American public away from their capitalist roots. Dana Andrews, who stars as a brainwashed Korean War vet alert to the dark secret of the firm to which he’s just returned, had worked with Tourneur on Night of the Demon the previous year, and it was he who insisted…

  • Days of Glory

    Days of Glory

    Tourneur’s first assignment at RKO following his hugely successful collaborations with Val Lewton stars a debuting Gregory Peck as the leader of a band of Russian guerrilla fighters grappling with questions of loyalty, love, and duty as they combat Nazi forces. One of a handful of pro-Soviet films made by Hollywood during World War II that would quickly fall out of favor in the HUAC era, Days of Glory avoids propagandistic bombast thanks to Tourneur’s sensitive, understated direction. The result…