Sense and Sensibility (2026) Movie Review: A vivacious period romance that ranks among the best Jane Austen adaptations

The works of Jane Austen have enough nuance and room for interpretation that they can withstand multiple adaptations, similar to how the classics of Shakespeare and Dickens are revitalized for the big screen every few years. There’s nothing inherently daring about a new adaptation of “Sense and Sensibility” beyond the existence of Ang Lee’s 1996 masterpiece, which Emma Thompson adapted and starred in to perfection. While director Georgia Oakley doesn’t set out to dramatically alter or subvert the quintessential narrative, her “Sense and Sensibility” is more than justified in its existence based on the stately beauty, impactful emotionality, and terrific performances. It’s by understanding that the period setting is not a barrier to generating sympathy that Oakley unlocks the key to why Austen’s novel is still celebrated today; there isn’t a need to “modernize” text that is so universal. If there’s a distinguishing factor in this version of is the distinct role that each setting has within the emotional development of the bond between sisters Elinor (Daisy Edgar-Jones) and Marianne (Esmé Creed-Miles), whose contrasting personalities represent the “sense” and “sensibility” in the title. It is after the death of their father that Elinor, Marianne, their younger sister Margaret (Bodhi Rae Breathnach), and their mother (Caitríona Balfe) are moved from the family patriarch’s estate after it is acquired by their half-brother Josh Dashwood (Tom Brooke) and his stuffy wife Fanny (Stacy Martin). The lavish open countryside becomes colder and more isolating when the family finds themself in a run-down cottage owned by their quirky relative Sir John Middleton (Turlough Convery), but both Elinor and Marianne are affected by affairs of the heart. Elinor is drawn to the charming, yet modest gentleman Edward Ferrars (George McKay), and John’s mother-in-law Mrs. Jennings (Fiona Shaw) suggests that Marianne could be a match for the steely veteran Colonel Brandon (Herbert Nordrum); she is nonetheless compelled by the enigmatic John Willoughby (Frank Dillane), a charismatic estate-owner who quite literally sweeps her off her feet. Oakley’s film is well-observed in showing a tremendous transformation of character within a short window of time, and it is with literate composure that the characters express themselves with truthfulness. The language is beautiful, and often lifted directly from the novel, but the manner in which the sisters in particular speak to their desires and joys is transporting in a way that is exclusive to this era of history. The context of 19th century England is present, but “Sense and Sensibility” is so focused on the pursuit of fulfillment that the barriers of class aren’t as abrasive. That’s not to say that they are ignored, but to suggest that there is something more important for the characters at this stage in their lives; it’s a romantic, aspirational quality that is as important to “Sense and Sensibility” as its gorgeous costume and production design. The muted, mopey terrain of the forest, terrain, and sweeping grounds may reflect a more grounded portrayal of England in 1811 than the Lee film, but the result of this restraint is that the bursts of color that come with a visit to London and expansive scope (reflecting romantic yearning) allow Oakley to open up the characters’ hearts by reflecting on their environments. The modesty within the production is refreshing when compared to the overindulgence within recent period pieces, with the centerpiece being a carefully constructed ballroom scene that becomes a spectacle based purely on the colliding emotions on display. The danger of honoring the disciplined approach of Austen’s novel is that the story could feel quaint, but there’s never a moment in which Oakley’s luminous vision feels less than cinematic. Between the carefully constructed protocol of welcoming house guests to the elaborate dancing, “Sense and Sensibility” does not break its immersion. It’s equally impressive that the vividness of the images and strength of the performances are enough to signify narrative progression without aggressive broadcasting. Other than one dreamlike sequence involving Marianne at her most discontent, the film rarely leans into metaphor when it can simply be observational. A still from Sense and Sensibility (2026) The clarity of Oakley’s vision for “Sense and Sensibility” would be undone if it weren’t expertly cast, and thankfully the ensemble is drawn together with complementary performances that share the same “sensibility,” yet have the “sense” to be distinct. Edgar-Jones had a breakout performance on Hulu’s “Normal People” that has set high expectations for her career on the big screen, and “Sense and Sensibility” finally unlocks that potential. There’s a lifetime of bottled-up feelings with Elinor, who has both inadvertently and intentionally denied herself the opportunity to ever be misconstrued of selfishness, but the purity of her compassion for her sisters is still tempered by moments of youthful exhilaration. She couldn’t be better matched with McKay, whose dignity, quick-wit, and charming sincerity offer a perfect side to a similar coin; this could have been the “boring” couple, but the time taken to show the initial sparks of their romance pays off exquisitely as the story complicates. As good as the aforementioned performances are, 2026’s “Sense and Sensibility” will likely be distinguished in years to come for featuring one of the decade’s most impressive breakout roles from Creed-Miles. It’s a full-bodied performance that sings with joy before detonating with heartbreak, as Marianne’s ability to “feel” with such vigor makes for a perfect counterbalance to Elinor without heightened theatricality. Creed-Miles is given perhaps the most difficult job in showing the subtle progression of Marianne, who begins as someone of innocent speculation on love, yet skeptical towards formality. She’s naive without being childish, and the reckoning she goes through when drawn to both Willoughby and Brandon leads to moments in which Creed-Miles shows consummate empathy in the most affecting of ways. It’s a performance that deserves to be nominated at the Academy Awards in the category of Best Supporting Actress, which Creed-Miles could pop up alongside her mother, Samantha Morton, if she is recognized for her equally remarkable work in “The Odyssey.” 2026’s “Sense and Sensibility” is a faithful interpretation that has confidence in the timeless appeal of the material and the conviction to let love be the sole narrative driver. It’s not padded out, and the focus on the most critical moments of propulsive, challenged emotion ensure that the film retains the specific glance that the novel offers; there’s months of prolonged growth and change to be found in unglimpsed scenes, and to highlight the transitory instances allows for a story that rightfully wears its heart on its sleeve. That “Sense and Sensibility” doesn’t reinvent the book is a feature, not a bug, as the Dashwood sisters have never felt so accessible. Read More: ‘Sense and Sensibility’ 2026: Daisy Edgar-Jones Explains Why Jane Austen Still Feels Relevant Sense and Sensibility (2026) Movie Links: IMDb , Rotten Tomatoes , Wikipedia , Letterboxd Where to watch Sense and Sensibility Liam Gaughan Liam Gaughan is a film critic, journalist, and essayist with over a decade of experience covering the film and entertainment industries. With a keen interest in the past and future of cinema, Liam has conducted interviews, written reviews, and attended festivals in his attempt to see way too many movies.