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Anna Karenina

Anna Karenina

Drama · Romance · History · 2012

In Imperial Russia, Anna, wife of the officer Karenin, goes to Moscow to visit her brother. On the way, she meets charming cavalry officer Vronsky, to whom she's immediately attracted. But in St. Petersburg’s high society, a relationship like this could destroy a woman’s reputation.

Movie details

Anna Karenina

“An epic story of love.”

2012 Drama · Romance · History 2h 9m

Critical arithmetic

The consensus, allegedly.

IMDb

6.6 / 10

111.2K votes

Rotten Tomatoes

63 %

Tomatometer

Metacritic

63 / 100

Metascore

TMDB

6.7 / 10

Community rating

External scores via OMDb · CC BY-NC 4.0. Values normalized for display; availability varies by title.

In Imperial Russia, Anna, wife of the officer Karenin, goes to Moscow to visit her brother. On the way, she meets charming cavalry officer Vronsky, to whom she's immediately attracted. But in St. Petersburg’s high society, a relationship like this could destroy a woman’s reputation.

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 Anna Karenina?

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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Where it lives

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Names above the title

The people responsible.

Directed by

Joe Wright

Written by

Tom Stoppard

Keira Knightley

Keira Knightley

Anna Karenina

Jude Law

Jude Law

Karenin

Aaron Taylor-Johnson

Aaron Taylor-Johnson

Vronsky

Matthew Macfadyen

Matthew Macfadyen

Oblonsky

Eric MacLennan

Eric MacLennan

Matvey

Kelly Macdonald

Kelly Macdonald

Dolly

Alicia Vikander

Alicia Vikander

Kitty

Court is in session

Put Anna Karenina 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 Adrenaline Seeker

“The strings are showing.”

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