'Sense & Sensibility' Steals 'Pride & Prejudice's Crown as a Masterpiece Austen Adaptation | Review

Published Oct 15, 2026, 1:28 PM EDT

Therese Lacson is a Senior TV Editor who has been with Collider since 2021. She got started in this business over ten years ago working primarily as an interviewer and critic. At Collider, she works closely with the features team to support the writers and also ideates and develops content daily. She has covered major industry events including Cannes Film Festival, Sundance Film Festival, SXSW, Toronto International Film Festival, and San Diego Comic-Con. Although she reviews and covers both film and television, her focus is in television and her expertise is in fantasy and sci-fi genre shows. Her favorite shows to cover include House of the Dragon, Bridgerton, Fallout, 9-1-1, and Rivals. 

Although Jane Austen is probably best known for her iconic novel Pride and Prejudice, it is Sense and Sensibility that first put her on the map. The debut novel, which was an instant success, has been the subject of countless adaptations in the more than 200 years since its publication, including the critically acclaimed 1995 film by Ang Lee. Adapting a novel is not for the faint of heart, especially not a beloved classic, and in a year of both fantastic and deeply disappointing adaptations, Georgia Oakley's subtle and evocative take on Sense and Sensibility stands as a triumph. A spiritual successor to Joe Wright's Pride and Prejudice, Oakley proves that she not only understands the depths and nuances of Austen's original novel, but can deliver an outstanding film that will keep you gripped for its full 132-minute run.

Georgia Oakley Gets Jane Austen Just Right in 'Sense and Sensibility'

Image via Focus Features

Sense and Sensibility stands as Oakley's sophomore film, following her successful debut Blue Jean (which she also wrote). But adapting a story is about more than just copying plot points from page to screen. Similar to the recent East of Eden series by Zoe Kazan, Oakley and screenwriter Diana Reid both modernize and streamline the story for the audiences of today. You can see this in the costuming, the hair and makeup, and the way the film adds humor and nuance to its main and supporting characters, making them far more than just archetypes. You will be invested in an otherwise simple story from a time that feels so foreign to the world we live in now.

While it's still a period romance film, Oakley also captures the practicality of Austen's world, reminding us of the realities that women faced in 18th-century England when their families were left without a father, husband, or male heirs. It's a familiar theme that pops up all over Austen's novels, and Oakley does little to sugarcoat just how dire the circumstances are for the Dashwood women after they are forced to move out of their beloved home, Norland Park. This dramatic change is something that we see throughout the film to emphasize this nebulous time for the Dashwood family. The scenic shift from an idyllic pastoral Sussex countryside to the windswept and agricultural Barton Cottage in Devonshire is as stark as the financial upheaval that the family faces.

The slow life at Norland Park and the informality of a country dance compared to the busy London streets and soirées of the town also serve as a reminder that Elinor (Daisy Edgar-Jones) and Marianne (Esmé Creed-Miles) are not only looking for love, but rather require strong marriages simply to live a comfortable life. It's an impressive feat that Oakley can convey this without giving up an ounce of artistic grace in the film; from the generous slow moments of Marianne wandering the forest to the furtive and charged looks between Edward Ferrars (George MacKay) and Elinor, the film is rich and gorgeous in every sense. Cinematographer Arnaud Potier lingers in each scene, absorbing the sumptuous landscape and the lives of the Dashwoods to give the film an ethereal beauty that transports the audience, while also keeping them necessarily grounded in the quiet character moments.

'Sense and Sensibility' Gives 'Pride and Prejudice' a Run for Its Money

Throughout the film, it's difficult not to compare Oakley's Sense and Sensibility to Wright's 2005 Pride and Prejudice starring Keira Knightley and Matthew Macfadyen. Visually, tonally, and thematically, the two films feel connected. In the same way that Wright used picturesque landscapes of the English countryside and a sweeping soundtrack to convey the depths of Elizabeth Bennet's emotions, Oakley employs similar methods to show the close bond and difference in character between Elinor and Marianne. The scenes Elinor exists in are often quiet, peaceful, and restrained. Her first proper conversation with Edward takes place beside a pond where the two are skipping stones. There's a gentle intimacy between them in that private space where they can be honest and speak frankly, while still dancing around their overt attraction to one another.

In contrast, Marianne's scenes are often as passionate and temperamental as she is. Her first meeting with Colonel Brandon (Herbert Nordrum) sees her sprinting through the woods only to be stopped when she suddenly runs into Brandon on his horse; rather than introduce herself, she runs away from him, hair unbound and dress flapping behind her. We see her sobbing dramatically at the thought of leaving her beloved home, instantly enamored when she meets Mr. Willoughby (Frank Dillane), and eagerly jumping into a lively country dance without any hesitation. Even the climax of the film sees Marianne stumbling through a rainy countryside, heartbroken, as composer Roger Goula's expressive soundtrack plays dramatically in the scene.

And while Pride and Prejudice puts Jane and Lizzie's close relationship as sisters (who also have contrasting personalities) as more of a supporting storyline, Sense and Sensibility doubles and then triples down on Elinor and Marianne's deep bond. They quarrel, they disagree, but when the chips are down, they will do anything for each other. Marianne never hesitates to point out Elinor's composed and reserved nature, seeing her "sense" as a hindrance to her own happiness. And Elinor is frustrated by Marianne's idealistic and dramatic notions of romantic love, seeing her "sensibility" as a sign of her immaturity and a fatal flaw. But unlike the genial Bennet sisters, Elinor and Marianne feel more lived-in. It's that conflict between them that also reaffirms how much they love each other when they're willing to look past their differences. It's this depth and focus on the finer details of the character that makes Oakley's film feel more authentic and emotionally poignant.

'Sense and Sensibility's Outstanding Cast Make It the Gem It Is

Sense and Sensibility might feel too safe for those searching for a new interpretation of Austen's novel (I'd redirect them toward this year's polarizing Wuthering Heights if they're looking for boldness), but the performances at its heart give color and life to the familiar story. Creed-Miles is impossible to look away from as Marianne in a stunning performance. Yes, Marianne is naive and melodramatic at times, but Creed-Miles imbues her with an authentic and passionate fervor that makes her easy to empathize with. Her instant on-screen chemistry with both Dillane and Nordrum is also what makes her love triangle storyline the most riveting.

Edgar-Jones gives a more subdued performance as Elinor, but when paired with Creed-Miles on screen, the two actors come to life, filling their characters with warmth and heart, and painting a picture of girlhood that completely captures the original novel's spirit. Her scenes with MacKay are also bubbling with romantic tension. Although their words might not fully reveal the depth of their feelings towards each other, their interactions and the chemistry between the two actors more than fill in the blanks.

Fiona Shaw's boisterous Mrs. Jennings is a delightful addition, acting in part as a good-hearted meddler and also a protective figure for the girls when they go to London. It's no surprise that Shaw often steals whatever scenes she's in, loudly declaring her intention to help both Elinor and Marianne find marriage and love. She's such a strong presence that she often feels more maternal than Caitriona Balfe's Mrs. Dashwood, who seems as swept away by fanciful dreams of romance as Marianne but, ultimately, is an underwhelming character. Turlough Convery is also an unexpectedly fantastic cast as the rowdy but welcoming John Middleton, delivering some of the film's funniest moments alongside Chloe Pirrie, who plays his wife, Lady Middleton.

For those who have been waiting since Wright's Pride and Prejudice for another adaptation that captures all the subtleties of Austen's novel, one that reframes it through a modern lens without losing its loyalty to the source material, look no further. Georgia Oakley's Sense and Sensibility is about to become your new favorite movie.

Cast

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  Daisy Edgar-Jones

  Elinor Dashwood

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  Esme Creed-Miles

  Marianne Dashwood

After their father's death leaves the Dashwood family with little money, sisters Elinor and Marianne are forced to navigate an uncertain future shaped by love, class, and social expectations in this new adaptation of the Jane Austen classic

Pros & Cons

• Visually and tonally, the film is a perfect modern look at a familiar story that doesn't take unnecessary risks or deviations.
• Esmé Creed-Miles is fantastic, giving one of her best performances in an instantly memorable role.
• Georgia Oakley perfectly captures Jane Austen's themes and motifs from the original novel, while still including her own touches to make the film feel unique.