Anna Karenina (2012)

Freer finds the adaptation bold, imaginative and intoxicating, despite its central romance becoming less involving. He especially praises Wright’s theatrical staging, singling out the lavish ballroom sequence as stunning.

Gritten finds the adaptation ambitious, romantic, and ultimately triumphant, though it occasionally falters. He especially praises Wright’s dazzling visual inventiveness and the film’s vivid sound design.

The accessible page does not reveal the critic’s verdict. It also provides no readable detail about what the review praises or criticizes.

The page appears to be a review of Joe Wright’s 2012 film, but its contents are inaccessible. Its verdict and any specific praise or complaint cannot be determined from the available text.

Lemire finds the adaptation visually inventive but emotionally distant. She singles out its theatrical staging as striking, while noting that the film’s formal flourishes can keep viewers at a remove.

Schenker finds the film engrossing and literate despite its overbearing visual ambitions. He praises Keira Knightley’s portrayal of Anna’s passion and despair, while criticizing the theatrical staging as a distracting gimmick.

Bradshaw finds the adaptation bold and creative but not wholly successful, saying its theatrical style sometimes feels uneven. He praises Keira Knightley’s subtle performance and the film’s moving flower-filled meadow tableau.

The critic's verdict cannot be established from the accessible page. No specific praise or complaint is available because the review text is missing.

Felperin finds the film formally inspired and technically glorious, though its chilly tone and less sympathetic lovers blunt its emotional impact. She especially praises the richly detailed production design and costumes.

The review finds Knightley commendable but says the director’s conspicuous style upstages her. It singles out Wright’s attention-seeking direction as the film’s main weakness.

Smith finds the film ponderously artificial and self-regarding, with its theatrical concept keeping the story at arm’s length. He criticizes the distracting stagecraft and the abrupt shifts between theatrical and conventional presentation.

Sharkey finds the film visually stunning and beautifully acted, but ultimately difficult to enjoy. She particularly praises the production design, costumes and choreography, while faulting their artifice for competing with the actors’ emotional performances.

The critic calls the adaptation a failed experiment, arguing that its theatrical staging makes Tolstoy’s realist novel feel artificial. They praise parts of the casting and find Levin and Kitty’s romance touching, especially in the scenes outdoors.

Edelstein calls the film a boldly original miscalculation, arguing its theatrical style distances viewers from the story’s emotions. He singles out Jude Law’s restrained performance as a welcome respite amid the overstated acting and staging.

Brody pans Joe Wright’s adaptation as a shallow, impersonal rendering that misses Tolstoy’s depth. He singles out Alicia Vikander’s spontaneous performance as the film’s one genuine strength.

Ellingson finds Wright’s adaptation challenging and rapturous once its theatrical approach clicks. She praises its kinetic, fluid production design and visually inventive transitions.

The critic finds Joe Wright’s adaptation a gripping, emotionally forceful and visually bold reimagining, though its theatrical style may divide viewers. She praises Keira Knightley’s performance and notes Aaron Taylor-Johnson’s comparatively stale delivery as a weakness.

The headline presents the film as a mostly thrilling, inventive reimagining. It singles out its bold approach to the classic as a strength.

Crow finds the film visually inventive and its performances strong, but says its theatrical design keeps the story emotionally distant. He especially praises Keira Knightley’s focused portrayal of Anna.

Wilkinson finds the film beautiful and brave, but says it fails to realise its potential. She praises Jacqueline Durran’s costumes for reflecting Anna’s emotional state and helping Keira Knightley’s performance blossom.

Goldberg finds the film visually mesmerizing but emotionally cold, saying Wright’s direction overwhelms the story. He praises the theater-based staging and its playful transitions, while faulting the central romance for lacking convincing emotional weight.

Papamichael finds the adaptation visually striking but exasperating and dull, with its theatrical flourishes getting in the way of Tolstoy’s emotional force. She praises Knightley for finding humanity in Anna’s difficult, emotionally led character.

The critic finds Wright’s theatrical staging emotionally distancing and ultimately unsuccessful. Knightley and Law are praised for their performances, while Taylor-Johnson is singled out as the weak link.