Reviews

At the opening night of The Flags, everyone is laughing at the gags besides
Colin Murphy, who rathers the masks and mimes of Familie Flöz's Teatro Delusio

Oliver Stone doesn't let the courageous and generous characters in World Trade Center tell their own tales; instead he jumps in at every opportunity to amp up the pathos, says Declan Burke

The current RHA retrospective sums up Robert Ballagh's career brilliantly. Unfortunately, his illustrations just don't do it for Billy Leahy

Fabulous Beast's The Flowerbed is enchanting and coherent, but SaBooge's Every Day Above Ground meanders away from Colin Murphy

Kevin Smith's sequel to the 1994 slacker hit Clerks pulls too many punches, while feminist rom-com Trust the Man hits out at every man in sight. By Declan Burke

Billy Leahy on The Bank in the Gallery of Photography in Temple Bar: a sponsored group exhibition exploring different aspects of Dublin's Central Bank

After the first week of Dublin's Fringe Festival Colin Murphy hungers for some good,
old-fashioned drama

The Black Dahlia is beautiful to look at, but it gets bogged down with confusing storylines and a plethora of characters. On the other hand, Al Gore's An Inconvenient Truth argues the Green case with deceptive simplicity, says Declan Burke

Ostensibly a commercial gallery, Mother's Tankstation reinvests all its profits into either the gallery itself or into the promotion of Irish art. This approach gives it the freedom to choose shows based solely on the quality of art, as with current exhibitor Ciaran Murphy.
By Billy Leahy

Even with some clever production techniques and good performances, Trousers just doesn't do it for Colin Murphy