Director: Georgia Oakley
Cast: Daisy Edgar-Jones, Esmé Creed-Miles, Caitriona Balfe, Frank Dillane, Herbert Nordrum, George MacKay, Fiona Shaw
Screenplay: Diana Reid
131 mins. Rated PG for some thematic elements, partial nudity and brief violence.

Let’s be clear, Sense and Sensibility is my favorite of Jane Austen’s works, and while not as prolific as Pride and Prejudice when it comes to adaptation, we’ve seen it done before. Like so many popular novels-turned-repeat-film-adaptations, some viewers question the why of it all. Upon seeing it, I can tell you that this is likely my favorite film based on an Austen book as well, and I should know; I’ve seen Pride and Prejudice and Zombies, after all.

The Dashwood sisters are without a home when their father’s estate is transfered to their half-brother. Mrs. Jennings (Fiona Shaw, Harry Potter and the Prisoner of Azkaban), a family relative, offers the Dashwoods a cottage in Devonshire. Elinor (Daisy Edgar-Jones, Twisters), the eldest Dashwood, has recently fallen for the handsome and guarded Edward Ferrars (George MacKay, 1917), but with distance, she learns some unfortunate truths that would hamper any future with the gentleman. Meanwhile, middle child Marianne (Esmé Creed-Miles, The Chronology of Water) has struggled to find a worthy suitor of her own. It appears that the dull Colonel Brandon (Herbert Nordrum, The Worst Person in the World) is her only option until she is rescued by the virtuous John Willoughby (Frank Dillane, TV’s Fear the Walking Dead). Will the Dashwood sisters be saved by love or are they destined for further turmoil?

All joking aside, this is an excellent adaptation with very little to really complain about, starting with the screenplay from Diana Reid. Taking the structural framework of Austen’s novel and adapting it for a 2026 audience creates a very accessible film that celebrates the language of Austen’s prose (the author’s greatest gift) but allows a natural flow of light-hearted comedy that feels more organic than forced. There is joy here to aid in the tonal movements that this extremely romantic and heartrending story contains.

Daisy Edgar-Jones has another show-stopping performance here as eldest daughter Elinor. She is equal parts charming and innocent, utterly adorable in her moments with Edward, and the two together are ABSOLUTELY SWOONWORTHY in every respect. She and MacKay have incredible chemistry during these periods of unspoken longing that nearly rival some of the unrequited passion of In the Mood for Love, two excellent performers making the most of the screen presence. Theirs is a shattering tale that operate much like bookends for the narrative.

Frank Dillane and Caitriona Balfe (Ford v Ferrari) both shine as Willoughby and Mrs. Dashwood, respectively, but it is Fiona Shaw who really steals the spotlight as Mrs. Jennings. Shaw frequently gets relegate to villainous or antagonistic characters, so seeing her as a lively matchmaker and joyful presence was wonderful here.

Director Georgia Oakley (Blue Jean) keeps the narrative nicely flowing and fills the scene with lush visuals and great costuming, and perhaps the biggest flaw with Sense and Sensibility is some occasional lighting faults that may be authentic to the time but cover up some of the beautiful shot composition, and this is merely nitpick territory. I adored this adaptation, especially the two central romantic performers that had me clutching my heartstrings even knowing the entirety of the story’s structure. Sense and Sensibility should delight both hardcore fans of the author and casual romance viewers looking for a lovely and joyful period piece that’s incredibly accessible.

4½/5
-Kyle A. Goethe