Sense and Sensibility: reviews

What the critics say average 7.2 from 27 outlets

• 10 The TelegraphRobbie Collin This is Austen with the bonnets blown off – and all the better for it. Read
• 10 Roger EbertPeyton Robinson Executed with tactile sincerity and incredible emotional acuity on all sides, “Sense and Sensibility” is a film you’ll want to snuggle up with, even when it hurts most—perhaps especially then. Read
• 9.0 ColliderTherese Lacson 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. Read
• 8.9 The WrapWilliam Bibbiani Georgia Oakley’s adaptation of Jane Austen’s timeless, beloved 1811 novel is enchanting and beautiful, just as it should be. It’s also, in its earthy and humorous way, intensely riveting, which is also as it should be. Read
• 8.5 HobbyConsolasRaquel Hernández Luján Sense and Sensibility is one of those films that will age very well, because its approach is fairly timeless and it does not try to bring the story into the present but something as difficult and honest as staging it just as it is, without complicating its reading or adding extra layers. Read
• 8.3 IndiewireRyan Lattanzio While the latest “Sense and Sensibility” requires the test of time to reveal its endurance when stacked against Ang Lee’s canon-defining 1995 film, Austen fans will be pleased here. Read
• 8.0 The IndependentClarisse Loughrey Oakley’s film is entirely powered by the breathy pauses, startled gazes, and aching fingers shared by Edgar-Jones and MacKay, who do beautiful work in teasing out such tensions without betraying the vital sense of comfort that Elinor and Edward find in each other. Read
• 8.0 Time OutOlly Richards This Sense and Sensibility is in its element out in the elements, untamed and free. Read
• 8.0 Screen DailyNikki Baughan This is a decidedly more grounded, introspective affair than Lee’s candy-coloured take on the material, and Oakley takes a more personal, intimate approach reminiscent of her previous feature. Read
• 8.0 Los Angeles TimesGlenn Whipp Much of the pleasure of Austen’s novel and this new adaptation, directed by Georgia Oakley and written by Diana Reid, comes from watching the fiercely bonded young women navigate their temperamental differences and arrive at a place of mutual understanding. Read
• 8.0 FotogramasLaura Pérez Its classically paced storytelling and naturalistic visuals, with meticulous attention to detail, light and weather, make for a vibrant and highly accomplished adaptation. Read
• 8.0 EspinofVíctor López G. 'Sense and Sensibility' is a resounding delight for the eyes and the heart too which, in a time of cheap effects and outbursts, reminds us that a great climax only needs a kiss to give us goosebumps when a great story comes before it. Read
• 8.0 AceprensaAna Sánchez de la Nieta In short, an outstanding version, a feast for the senses and one more proof that the classics are still current. Read
• 8.0 SensaCineAlejandro G. Calvo It brings nothing truly new for anyone who already knows Austen's original text, but it offers a revisit with a strong artistic style and remarkable performances. Read
• 8.0 AccionCineJesús Martín Oakley's version shows its strengths in the way it captures the spirit of the society the Dashwood sisters moved in, which it cleverly ties to the wild, many-coloured landscape of the English countryside in the early 19th century. Read
• 7.0 VarietyBeatrice Loayza Though slightly muted (in both feeling and color palette) by comparison, Oakley’s moody, naturalistic spin on the Austen touchstone is a solid undertaking. Read
• 7.0 New York TimesAlissa Wilkinson As the heart of the story, Edgar-Jones and Creed-Miles have a beautiful, sisterly rapport, turning what can be stock character traits — Elinor’s “sense,” or prudence, and Marianne’s “sensibility,” or emotionality — into three-dimensionality. Read
• 7.0 TimeStephanie Zacharek Shot by Arnaud Potier, the film has a handsome, genteel look. And if at times the movie comes off as a bit decorous and stiff, the actors, particularly Edgar-Jones and Creed-Miles, do their best to keep the proceedings whirring. Read
• 7.0 CinemaníaJanire Zurbano This new Sense and Sensibility has sense and sensibility in its themes and looks, but it lacks authorship, the signature that would make it stand out in a genre overflowing with productions. Read
• 7.0 Diario ASIgnacio Camacho 'Sense and Sensibility' is a remarkable, elegant and emotionally honest film. Daisy Edgar-Jones and Fiona Shaw shine in an adaptation that proves the classics need no disguise to keep working.
• 6.0 The GuardianPeter Bradshaw Overall, the movie always looks and sounds perfectly good, though some of the sensibility is lacking. Read
• 6.0 EmpireLaura Venning Bolstered by strong performances, this handsome but derivative take is a little bloodless, with Austen’s sharp wit sanded down to fit a more romantic mould. Read
• 6.0 IGNSiddhant Adlakha Georgia Oakley’s Sense and Sensibility is a lush, picturesque Jane Austen adaptation whose story is far too emotionally plain. Read
• 5.0 The Hollywood ReporterDavid Rooney Oakley and Reid lean so heavily into Elinor and Marianne’s crushing disappointments and the forces holding them back in a period of vast gender inequity, that their sorrows shove the characters’ more captivating qualities to the side. Read
• 4.0 The TimesKevin Maher This is Austen by numbers, emotionally flat, dramatically uneven and bizarrely, bafflingly, conventional. Read
• 4.0 El MundoLuis Martínez The new version of Jane Austen's classic is as faithful to the text and as effective in its staging as it is foreign to any hint of interpretation, revision or mere novelty (and inferior to Ang Lee's) Read
• 3.0 The Wall Street JournalKyle Smith Why this remake was even greenlit is a mystery; it’s not like the 1995 version (which won Ms. Thompson an Oscar for her screenplay) is lost, or dated, or forgotten. All of the sparkle of that film has turned to ash in this superfluous and inert bore. Read