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  • War Machine

    War Machine

    ★★½

    Some intelligent, clear-eyed observations on modern war, military hubris and US intentions are stifled by tonal clumsiness -- it flounders as satire, and its first half commitment to it blunts the stronger, more straight-faced second half -- meandering pace and a distractingly miscast, almost cartoonish Pitt. (Seriously, did Clooney say no?)

  • Venus in Fur

    Venus in Fur

    ★★★★

    Continuing Polanski's increasingly playful "bottle movie" period, this wickedly witty gender war of words raises important questions, refuses easy answers and blissfully revels in mischief. A pointedly cast Seigner (Polanski's wife) and Amalric (Polanski's double?) go all-in, to mesmerising effect.

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  • Kate Plays Christine

    Kate Plays Christine

    ★½

    Initially interesting but increasingly meandering doc-xperiment feels ickier and less ethical as it wears on. What's more, its attack on assumed audience bloodlust is aimed in a way as to fundamentally misunderstand art's role in helping us make some semblance of sense of the senseless.

  • The Revenant

    The Revenant

    ★★

    Strikingly shot, strongly acted, but endless, near-comically absurd survival/revenge drama feels puffed up on its own faux-significance.