Sense and Sensibility review – Daisy Edgar-Jones and Esmé Creed-Miles lead a beautifully performed new adaptation of Jane Austen’s classic. Judged on its own, it is an absorbing and sweepingly attractive period romance. Compared with Ang Lee’s much-loved 1995 film, however, it is difficult to escape one question: why did the story need to be made again?
TV Central attended a complimentary preview screening. No payment was received for this review.
From Focus Features and Working Title, the film follows the Dashwood family after the death of Mr Dashwood. Mrs Dashwood and her three unmarried daughters lose Norland Park to the closest male relative and move to the more modest Barton Cottage.
Elinor Dashwood has feelings for the reserved Edward Ferrars, while her younger sister Marianne is swept away by the charming John Willoughby. As love, heartbreak and social expectations close in, the sisters must find their own paths through a world in which women with little money or influence have painfully limited choices.
The Shadow Of The 1995 Classic
It is almost impossible to discuss this adaptation without thinking about the 1995 film directed by Ang Lee and written by Emma Thompson. That version brought together Thompson, Kate Winslet, Hugh Grant and Alan Rickman, and it remains a gold standard for historical romance.
The two films share the same essential story. Elinor represents sense: she is restrained, practical and careful with her emotions. Marianne embodies sensibility: she is impulsive, passionate and prepared to follow her heart. Both versions explore the sisters’ financial vulnerability, their romantic disappointments and the strength of their bond.
That faithfulness is not necessarily a weakness. Jane Austen’s story remains rich, relevant and emotionally rewarding. Nevertheless, the new film offers no dramatic reinvention of the plot. It is not like seeing an animated favourite transformed into live action, where the change of form supplies an immediate point of difference. At times, it feels closer to remaking Titanic: the presentation may change, but the audience already knows the journey and its destination.
If the 1995 film simply returned to cinemas for an anniversary season, I would not feel compelled to buy another ticket because I have already experienced it. The same doubt follows this version. It is very good, but its familiarity makes it harder to explain why it had to exist.
A More Sober And Downbeat Interpretation
The clearest distinction comes from the tone. The 1995 film feels wittier, more romantic, polished and uplifting. Georgia Oakley’s 2026 version is more subdued. Its cloudier skies, restrained mood and starker psychological realism make the Dashwoods’ reduced circumstances feel especially immediate.
That sober approach gives the film an identity, even if it does not fundamentally change the narrative. The English landscapes and historic settings remain sweepingly beautiful, but they are not treated as an uninterrupted romantic fantasy. The colder atmosphere often reflects the insecurity surrounding the family.
Daisy Edgar-Jones brings intelligence and quiet emotional control to Elinor, while Esmé Creed-Miles gives Marianne the required volatility and openness. Their contrasting temperaments drive the film, and their relationship gives the familiar material its heart. The broader cast also handles Austen’s language and social tension with confidence.
Fiona Shaw Steals Her Scenes
One of the film’s pleasures is Fiona Shaw as the wealthy and wonderfully forthright Mrs Jennings. She is not the centre of Elinor and Marianne’s story, yet her energy lifts every scene in which she appears. For viewers who remember her from Three Men and a Little Lady, the sequel to Three Men and a Baby, she is an especially welcome presence.
Shaw’s comic timing and warmth provide a useful counterpoint to the film’s more downbeat mood. In a cast filled with strong performances, she became one of my highlights.
Does It Work As A Standalone Film?
Remove the 1995 comparison and the answer is much simpler: yes. In isolation, this is a great film. It is thoughtful, visually impressive and performed with conviction. The romance, heartbreak, family loyalty and social pressure all remain compelling, while the more realistic atmosphere gives the story a distinct emotional texture.
My score reflects that standalone experience. If I were judging the film solely on how much it adds to the 1995 classic, the result would be lower. As an introduction to Austen’s story for a new generation, though, it is accomplished and easy to admire.
The TV Central Verdict
Aaron: 7/10
“Beautifully performed and sweepingly filmed, but its faithfulness to the 1995 classic leaves this new adaptation struggling to justify why the story needed to be retold.”
Zak: 5/10
“Nothing new here.”
Sense And Sensibility Official Synopsis
After the death of Mr Dashwood, his widow and three unmarried daughters lose their home, Norland Park, to the closest male relative, John Dashwood. The family relocates to Barton Cottage, where Elinor and Marianne navigate love, loss and society’s expectations. Elinor quietly cares for Edward Ferrars, while Marianne falls for John Willoughby, even as the devoted Colonel Brandon remains close by.
Sense And Sensibility Movie Details
- Title: Sense and Sensibility
- Australian release date: In cinemas 15 October 2026
- Director: Georgia Oakley
- Screenplay: Diana Reid
- Based on: The novel by Jane Austen
- Cast: Daisy Edgar-Jones, Esmé Creed-Miles, Caitríona Balfe, Frank Dillane, Herbert Nordrum, George MacKay, Fiona Shaw and Bodhi Rae Breathnach
- Producers: Tim Bevan, Eric Fellner, India Flint and Jo Wallett
- Studios: Focus Features and Working Title
- Australian distributor: Universal Pictures Australia
Watch The Sense And Sensibility Official Trailer
Read TV Central’s earlier coverage of the official trailer and the stars’ Australian visit. More official film information is available from Focus Features.
Sense And Sensibility At The Backlot Perth
The preview screening was held at The Backlot Perth in East Perth. This visit showed how well the boutique cinema can work when the size of the screening suits the room.
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Only around a dozen people attended, leaving plenty of room to choose a comfortable seat rather than being pushed into the front row. Guests could collect a drink, settle in easily and enjoy the intimate atmosphere. The film started on time, and there were no sound problems.
That was a much better experience than some previous high-demand screenings at the venue. The Backlot has had technical issues in the past, and its very small auditorium can become uncomfortable when a major preview fills every seat. There have also been concerns about how management has handled some events.
However, none of those problems affected this screening. With the cinema only half full, the venue felt relaxed, personal and appropriate for the film. Used for a smaller event in this way, The Backlot Perth can provide a genuinely enjoyable boutique cinema experience.
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