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Anne of Green Gables: The Sequel

Anne of Green Gables: The Sequel

Family · Drama · Romance · 1987

Anne Shirley, now a schoolteacher, has begun writing stories and collecting rejection slips. She acts as Diana's maid of honor, develops a relationship with Gilbert Blythe, and finds herself at Kingsport Ladies' College. But while Anne enjoys the battles and the friends she makes, she finds herself returning to Avonlea.

Movie details

Anne of Green Gables: The Sequel

“Anne, the girl with the courage for all, is back.”

1987 Family · Drama · Romance 3h 52m

Critical arithmetic

One number, for now.

TMDB

7.9 / 10

Community rating

Anne Shirley, now a schoolteacher, has begun writing stories and collecting rejection slips. She acts as Diana's maid of honor, develops a relationship with Gilbert Blythe, and finds herself at Kingsport Ladies' College. But while Anne enjoys the battles and the friends she makes, she finds herself returning to Avonlea.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Anne of Green Gables: The Sequel?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Kevin Sullivan

Written by

Kevin Sullivan

Megan Follows

Megan Follows

Anne Shirley

Jonathan Crombie

Jonathan Crombie

Gilbert Blythe

Colleen Dewhurst

Colleen Dewhurst

Marilla Cuthbert

Patricia Hamilton

Patricia Hamilton

Rachel Lynde

Schuyler Grant

Schuyler Grant

Diana Barry

Rosemary Dunsmore

Rosemary Dunsmore

Katherine Brooke

Frank Converse

Frank Converse

Morgan Harris

Court is in session

Put Anne of Green Gables: The Sequel on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Prestige Tourist

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Cool Ironist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.