Anna Karenina Reviews

  • In making the radical artistic choice to tell the story as if it were being enacted by players on a stage, Wright falls passionately in love with his own fanciful artifices.

    Lisa Schwarzbaum — Entertainment Weekly

  • It is risky and ambitious enough to count as an act of artistic hubris, and confident enough to triumph on its own slightly - wonderfully - crazy terms.

    A.O. Scott — New York Times

  • An intoxicating spectacle that breathes new life into the classic Tolstoy novel, incorporating the notion that all life's a stage -- at least for imperial Russian society.

    Claudia Puig — USA Today

  • Wright's "Anna Karenina" sings, dances and finally soars, even as its legendary heroine plunges to her most self-destructive depths.

    Ann Hornaday — Washington Post

  • There's a coldness to the new "Anna Karenina" that has nothing to do with the white stuff piled up along the streets of 19th-century St. Petersburg. It's the chill that comes from a director entranced with his own talent.

    Ty Burr — Boston Globe

  • Confoundingly good performances gradually win the movie from Wright's puerile conceit, giving us an Anna Karenina if not for the ages, than at least for an evening.

    Nick Pinkerton — Village Voice

  • "Anna" is daring enough to seduce us, if ultimately incapable of breaking our hearts.

    Elizabeth Weitzman — New York Daily News

  • The ropes and curtains and ladders of this "Anna Karenina" serve mainly as distractions. And they're solutions to a part of the problem that doesn't exist.

    Joe Morgenstern — Wall Street Journal

  • Thank goodness for Domhnall Gleeson's gentle turn as Oblonsky's friend Levin. The ginger-haired landowner is the movie's warmest figure.

    Lisa Kennedy — Denver Post

  • ... the signal achievement of this version of 'Anna Karenina' is that it manages to use a world literary classic as the platform for nothing less than the longest Chanel ad ever.

    Glenn Kenny — MSN Movies

  • The metaphorical force of this conceit-insisting on the artifice of the social world that frowns on rapture-is not hard to grasp, but its frailty unsettles some of the actors.

    Anthony Lane — New Yorker

  • This is a sumptuous film - extravagantly staged and photographed, perhaps too much so for its own good.

    Roger Ebert — Chicago Sun-Times

  • It's a half-success -- a baldly conceptual response to the Leo Tolstoy novel, with a heavy theatrical framework placed around the narrative of girl meets boy, followed by girl meets train.

    Michael Phillips — Chicago Tribune

  • Without Tolsoy's profound interior narration, Anna Karenina is just a soap opera, and for some reason director Joe Wright has decided to compound this problem with deliberate, showy artifice.

    J. R. Jones — Chicago Reader

  • It's hard not to admire Wright's bold approach to Anna Karenina's story of longing and jealousy and societal condemnation.

    Steven Rea — Philadelphia Inquirer

  • "Anna Karenina," lush as it is, fails to strike a fully human chord.

    Tom Long — Detroit News

  • Knightley and Law are what salvage Wright's interesting stab at something different, taking an interesting, if flawed, experiment and turning it into something better than it probably ought to be.

    Bill Goodykoontz — Arizona Republic

  • James Joyce once wrote that [Tolstoy] was "never dull, never stupid, never tired, pedantic or theatrical." He might change his mind if he saw Anna Karenina.

    Rex Reed — New York Observer

  • Eschewing the classical realism that's characterized most adaptations of Tolstoy's source novel, helmer Joe Wright makes the generally inspired decision to stylize his dark, expressionist take on Anna Karenina.

    Leslie Felperin — Variety

  • A handsome, grandly theatrical reimagining of the Tolstoy novel starring his muse, Keira Knightley.

    Lou Lumenick — New York Post

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