Review

After decades of knocking on museum doors, photography finally got invited in as a full-fledged member of the arts establishment. And it did it by following the perennially popular advice, "To achieve success, just be yourself and do what you do best." Now, it seems, every museum is jumping on the bandwagon and mounting photography exhibitions.

“The Guard” (shouldn’t that be, The Garda?) is a terrific Irish film that showcases Brendan Gleeson, a wry and splendid actor who plays a small time village cop, Sergeant Gerry Boyle. (The film was a critical and popular hit in Ireland.) When three drug traffickers make their way to his area, he suddenly has to deal with the rather up-tight FBI agent Wendell Everett played with fitting cultural confusion by Don Cheadle.

It’s not really right to skip the theatre when in London, so out of all the possible shows, I choose to see the revival of Mike Leigh’s “Ecstasy,” which has now closed.

Mike Leigh is a director I often admire; he is frequently called “a darling of the Left.” He is not a big campaigner, but when asked if he feels he is a political director has said, “You can't not be political. It's like asking if I consider myself a human being.”

Adam Curtis’ new documentary, All Watched Over By Machines Of Loving Grace, gives hope that at least some of the world is waking up from the mass hallucination of disembodied information. The documentary, which is subtitled, “The Rise of the Machines,” explores how in the later part of the 20th Century, and the first decade of the 21st, much of the world became organized around the old gnostic fantasy that information or souls can be separated from the constraints of the material world, becoming free to circulate through time and space.