'Sense and Sensibility' (2026) Review: A Charming and Beautifully Crafted Adaptation
By Jack Ransom - September 27, 2026
Based on Jane Austen’s popular novel. Sense and Sensibility sees three sisters (Daisy Edgar-Jones, Esmé Creed Miles & Bodhi Rae Breathnach) experience love and heartbreak after they're forced to leave their family estate with their widowed mother (Caitríona Balfe) and move to a humble cottage.
When it comes to Jane Austen adaptations, my viewing experience is somewhat limited, having only seen two of her most popular and iconic works brought to the big screen: 1995’s Sense and Sensibility & 2005’s Pride & Prejudice (of which is also getting another adaptation this year). The trailer and posters for this did beg the question - “Do we really need another Sense and Sensibility?”.
Whereas other classic period literary works have been re-adapted and changed to either fit modern settings at the time (Clueless, 10 Things I Hate About You, Bridget Jones’s Diary) or have the filmmaker’s own vision cast over the source material causing fan uproar (most recently with this year’s Wuthering Heights), this very much is a traditional period drama in the vein of the aforementioned Austen adaptations I mentioned up top.
Whilst I do slightly prefer Ang Lee’s version, Director Georgia Oakley (Blue Jean) and author/ first time screenwriter Diana Reid deliver a faithful and tonally similar film that captures the sisterly dynamic effectively, as well as the uppity, melodramatic social and romantic tendencies and expectations of the era. It takes a little time to find its footing, however when the Dashwood’s leave for Devonshire it flows nicely at a consistent pace whilst weaving between Elinor (Daisy Edgar-Jones) & Marianne’s (Esmé Creed-Miles) yearning’s, joys and heartbreaks.
Stylistically this opts for a darker, gloomier, downturned colour palette compared to Lee’s brighter almost painting-like aesthetic. However, it still looks absolutely gorgeous: from vast country houses illuminated by candlelight, the stuffy yet increasingly homely Barton Cottage, billowing hills, earthy forests and isolated seafronts. Oakley’s utilisation of floaty-naturalistic camera movements and well blocked and framed shots (love the shot through the rear-carriage window as they leave their estate). The costumes, production, design and props all work in unison to craft the era and the score fits nicely.
Edgar-Jones and Creed-Miles are at the forefront here and have believable sisterly chemistry. The former’s more authoritative, rule-following, good natured realist, who attempts to bottle her bold passion for Edward (George MacKay - who apes Hugh Grant’s portrayal decently here) and the latter’s brash, enthusiastic, lovestruck (with Frank Dillane’s Willoughby), rebellious nature clash and intertwine throughout the proceedings. Herbert Nordrum’s stoic and mysterious demeanour is a strong presence, but he doesn’t quite match Alan Rickman’s gravitas. Tom Brooke, Stacy Martin, Turlough Convery, Chloe Pirrie and a delightfully bubbly and gossipy Fiona Shaw bring the chuckles.
Sense and Sensibility is a fittingly easy viewing that is perfect for a Sunday afternoon. Whilst the 1995 version may have the edge in terms of some of its cast and emotional melodrama, this still delivers an engaging, beautifully crafted and charming adaptation.
'Sense and Sensibility' is out now in cinemas, following its release on September 25, 2026.
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Jack Ransom
Senior Writer
Jack loves to talk films: whether it is reviewing them, ranking them, reacting to them or collecting physical media!
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