Ralph Fiennes’s film too conspicuously avoids an overt political perspective.
So much of the film is given over to highlighting David Hare’s confusion as a tourist in a conflict he can never fully comprehend.
It shows that people’s misfortunes need not preclude them from living virtuous lives founded on basic human decency.
The high drama begins right away, with a petal falling over the opening interactive menu.
The women of The Hours become little more than sudsy abstractions of cross-generational female repression.