Why you can trust GamesRadar+ Our experts review games, movies and tech over countless hours, so you can choose the best for you. Find out more about our reviews policy.
Orlando was a witty and daring film, but Sally Potter's follow-up - The Tango Lesson, in which she plays herself learning to dance - is a colostomy bag of self-indulgent wish-fulfilment. The story (she goes to Buenos Aires and falls in love with sexy Argentine teacher Pablo Veron) is pure soap opera hokum, filmed in arty black and white. Ex-dancer Potter is quite sexy for an older woman (Aunt Sally, as it were), but her acting is awkward, stilted and she's so hopelessly frail you feel she might snap in Veron's arms. There's nothing inherently wrong with egotistical movie-making, and this film does have a neat, naturalistic feel that makes you aware of the guiding intelligence behind it. But Potter takes her post-modernism too far by playing herself, and badly at that. When a director thinks she's the only person who can portray a part (even when she can't act), then she's really lost the plot completely.
Just like Tetris, someone's found Balatro's "true ending" by chasing a score so high that it actually crashes the game
He's just like us - Final Fantasy 7 Rebirth director "was so excited" about The Witcher 4, "when Ciri removed her hood, he almost stood up"
Helldivers 2 lead thought it would bang, but not that hard: "We were prepared for having 150,000 players peak CCU"
