Sense and Sensibility (2026)

Pettit finds this moody, modern adaptation appealing to younger viewers while retaining Austen’s spirit for open-minded fans. She especially praises the stellar cast and the film’s lush, romantic frames.

Lattanzio finds the faithful adaptation often swoony and fresh, while noting it may not match Ang Lee’s version. He praises Esmé Creed-Miles’s vivid performance as Marianne and the film’s grounded period visuals.

Stafford finds Oakley’s adaptation a rugged, refreshing success that stands on its own rather than competing with Ang Lee’s version. She especially praises its earthy visual texture and the tender sisterhood at its center.

Richards presents Oakley’s adaptation as a wild and wonderful take on Austen, distinct from the Ang Lee comparisons. The headline singles out its bold, distinctive approach, while the available text offers no further detail on what works best.

Whipp finds this adaptation charming and able to stand apart from its celebrated predecessor. He especially praises the fresh, convincing rapport between Daisy Edgar-Jones and Esmé Creed-Miles as the Dashwood sisters.

Smith finds this naturalistic adaptation a fresh, intimate take, though it is less cheeky than other versions. He praises the sincerity with which the film presents Elinor and Marianne’s parallel journeys.

The review presents the adaptation as an intimate, unfussy success. It singles out Daisy Edgar-Jones and Esme Creed-Miles for impressing in their roles.

Loayza finds Oakley’s adaptation a solid, moody and naturalistic take, though its serious tone makes it feel safer and less witty than Austen’s work. She especially praises Frank Dillane’s sly, humorous performance as Willoughby.

Bradshaw finds this adaptation sober-minded and interestingly austere, though some of its sensibility is lacking. He praises Fiona Shaw’s scene-stealing Mrs Jennings while criticizing Herbert Nordrum’s uncomfortable, unengaged Colonel Brandon.

Castillo finds the adaptation dutiful but emotionally restrained, unable to make its romances fully compelling. She praises Esmé Creed-Miles’s spirited performance and Oakley’s painterly compositions, while noting distracting stylistic choices.

The review finds the adaptation agreeable, with plenty to like, but not among the strongest Austen adaptations. It says the film lacks melancholy and warmth.

Venning finds the adaptation handsome but derivative, with Austen’s wit and the story’s emotional heart diminished. She praises the warm, tender rapport between Daisy Edgar-Jones and George MacKay, while criticizing the film’s borrowed visual influences and bloodless romance.

Rooney finds the adaptation overly morose and inferior to the 1995 version. He praises George MacKay and Daisy Edgar-Jones’s gentle rapport, especially in their climactic scenes.

Lacson calls the adaptation an instant classic that rivals Joe Wright’s Pride and Prejudice. She particularly praises Esmé Creed-Miles’s passionate performance as Marianne and the film’s vivid, emotionally attuned portrayal of the sisters’ bond.

The critic finds the adaptation enchanting, beautiful and intensely riveting. They especially praise its grounded melancholy and the emotionally compelling performances of Daisy Edgar-Jones and Esmé Creed-Miles.

The critic finds the adaptation refreshingly grounded and emotionally authentic, giving Austen’s story new life. They especially praise its focus on the sisters’ bond and the young, age-appropriate Elinor.

Wise finds Oakley’s adaptation timely and effective, preserving Austen’s sharp social satire while foregrounding women’s desire. He praises its subtle, lived-in realism, though he notes uneven casting and limited reinvention.

Bacon finds the adaptation a successful, timely update, though it sometimes lacks energy and chemistry between the sisters. She praises Daisy Edgar-Jones’s performance and Fiona Shaw’s lively standout turn, while criticizing the film’s grey-washed look.

The critic finds this a charming, bittersweet adaptation that brings fresh life to Austen for new audiences, though it may not become definitive. He particularly praises Esmé Creed-Miles’s fiery Marianne and the sisters’ moving bond.

The critic finds the adaptation ambitious but frustrating, saying it never recaptures the warmth of the 1995 film. Daisy Edgar-Jones and George MacKay’s performances are praised, while the dance sequences are singled out as stilted and self-conscious.