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Anastasia

Anastasia

Animation · Family · Fantasy · 1997

Ten years after she was separated from her family, an eighteen-year-old orphan with vague memories of the past sets out to Paris in hopes of reuniting with her grandmother. She is accompanied by two con men, who intend to pass her off as the Grand Duchess Anastasia to the Dowager Empress for a reward.

Movie details

Anastasia

“Discover the adventure behind the greatest mystery of our time.”

1997 Animation · Family · Fantasy 1h 34m

Critical arithmetic

One number, for now.

TMDB

7.6 / 10

Community rating

Ten years after she was separated from her family, an eighteen-year-old orphan with vague memories of the past sets out to Paris in hopes of reuniting with her grandmother. She is accompanied by two con men, who intend to pass her off as the Grand Duchess Anastasia to the Dowager Empress for a reward.

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 Anastasia?

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

Don Bluth · Gary Goldman

Written by

Susan Gauthier · Bruce Graham · Bob Tzudiker · Noni White

Meg Ryan

Meg Ryan

Anastasia (voice)

John Cusack

John Cusack

Dimitri (voice)

Kelsey Grammer

Kelsey Grammer

Vladimir (voice)

Christopher Lloyd

Christopher Lloyd

Rasputin (voice)

Hank Azaria

Hank Azaria

Bartok (voice)

Bernadette Peters

Bernadette Peters

Sophie (voice)

Kirsten Dunst

Kirsten Dunst

Young Anastasia (voice)

Court is in session

Put Anastasia on trial.

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

The defence The Sentimental Softie

“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.