Hare discusses his particular take on Robert Moses and the kind of theater he favors.
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.
Stephen Daldry is once again drawn to a tale that alternates between (and often parallels) intrinsically connected pasts and presents.
The high drama begins right away, with a petal falling over the opening interactive menu.
The film’s women are little more than sudsy abstractions of cross-generational repression.