Breach, a film based on the true story of the most serious national security leak in US history, fails to deliver the intrigue needed in a thriller, while comedy Two Days In Paris is handled skilfully by the director. By Gavin Burke
Village puts its finger on the festival of the summer
An irreverent, joyful look at women's lives in the 1960s.
From the small screen to the silver screen: Transformers and The Simpsons look good on paper but lack originality.
Now that the mud-fest that is Oxygen is over, it is safe to go back in the fields. Over the next two months, Village will look at some of the festivals coming up over the rest of the summer, in the optimistic expectation that the sun will come out some day soon.
The Peacock Theatre continues its impressive scheduling of surrealist productions with Terminus, following the hugely successful run of Kicking a Dead Horse and the astonishingly graphic return of the enormously controversial Saved. Having featured two of the most influential American and British playwrights on its fine, newly constructed stage, the Peacock has returned to the national conscious, staging the home-grown Mark O'Rowe's first theatrical endeavour in over four years.
The creaking stair-case, a musty attic, the vaulted ceiling coated in bright hot lights. The Andrews Lane Studio rises above the popular theatre in its classic amber building, stretching above the mantles of grey and brown structures that circle the quaint narrow lane, which forms its name. The studio is on its final run. As the bull dozers warm up in preparation for the final assault, scheduled is a series of absorbing classic plays, performed in short bursts encompassing just a number of days, celebrating the myriad nature of the studio's experimental theatrical career.
There's no better walk. Make it, some late summer evening, a little whip of wind across the East River. You arrive from the Brooklyn side. In the distance is Manhattan, where the sun goes down like a giant red aspirin behind the jagged skyline.
The Celtic Tiger boom has seen an explosion in the sale of art as Irish people have become gripLast year a Louis le Brocquy watercolour sold at a Sotheby's auction in London for the equivalent of €230,000 – ten times more than expected and far more than many deemed it to be worth. Irish auctioneer John deVere White had another le Brocquy watercolour hanging on the wall of his Dublin auction house. It was the same size, the same year and in his own words “an infinitely better painting”.ped by ‘auctionmania'.