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Pier Paolo Pasolini's take on Marxism was always defiantly off-centre; ditto his take on religion.
Never more so than in his 1968 Theorem , where an enigmatic visitor (Terence Stamp) infiltrates an affluent Milanese family and seduces them one by one – father, mother, son, daughter and maid – before vanishing as mysteriously as he arrived.
Christ or Devil? Political allegory or religious fable? Scathing social comment or pretentious indulgence? The jury’s still out. But Pasolini creates an ethereal mood – and Stamp, smiling ineffably, has never been better.
PlayStation's cancelled reboot of its vehicular combat classic was reportedly a battle royale that let you exit the vehicles, for some reason
Steam Next Fest's biggest Soulslike is about to jump from PC to PS5 and Xbox, and everyone seems to love the demo just as much as we did
Keanu Reeves has a very blunt reaction to if he'd return for another John Wick movie: "The character's dead"
