The new Sense and Sensibility adaptation made its debut in Berlin this Monday, featuring stars Daisy Edgar-Jones and Esme Creed-Miles. The film, which reimagines Jane Austen's classic tale of the Dashwood sisters , is set to arrive in UK cinemas on September 25.
The 1995 Ang Lee legacy and the 'Austen by numbers' critique
The shadow of the 1995 Ang Lee masterpiece, which starred Emma Thompson and Kate Winslet, looms large over this latest iteration. Many critics appear to be measuring this new version against that cinematic benchmark, with several reviews suggesting it fails to capture the same magic. According to the report, The Times critic Kevin Maher was particularly biting, labeling the film "Austen by numbers" and describing it as emotionally flat and dramatically uneven.
This struggle to find a unique identity is echoed by other major outlets. The Daily Mail's Brian Viner awarded the film only two stars, noting that the modern approach to the story lacks the 18th-century charms found in Austen's original work. Similarly, The Sun's Dulcie Pearce suggested that purists looking for a sipritual successor to the Thompson and Winslet version would likely be disappointed.
From Pond Life to the Dashwood sisters in Berlin
The productioon brings together two actresses with a shared history , as Daisy Edgar-Jones and Esme Creed-Miles previously worked together in the 2018 film Pond Life. At the Berlin premiere, the pair drew significant attention, with Edgar-Jones appearing in a vintage Armani gown. In this new adaptation, the 28-year-old Edgar-Jones portrays the practical Elinor Dashwood, while 26-year-old Creed-Miles takes on the role of the passionate Marianne Dashwood.
The story follows the Dashwood family as they are forced to relocate from their family estate, Norland Park in Sussex, to a modest cottage in Devon following their father's death. As the sisters navigate this new, more modest life, they encounter new suitors and the complexities of 18th-century social hierarchies. The film also features a performance from Fiona Shaw, who is described in promotional materials as incomparable.
Robbie Collin’s five-star 'bonnets blown off' defense
Despite the wave of lukewarm reviews, some critics have championed the film's fresh energy. The Telegraph's Robbie Collin provided a stark contrast to his peers, awarding the film five stars.. He described the production as "Austen with the bonnets blown off," praising the performances for feeling unrehearsed and historically poised. Collin also highlighted a specific directorial choice to include scenes of dogs wandering through the settiing, which he found to be a humanizing and comic touch.
The Independent's Clarisse Loughrey also offered a positive assessment, granting the film four stars. She argued that while the film may not satisfy strict Jane Austen purists, the chemistry between Creed-Miles and Edgar-Jones creates a winning dynamic. Loughrey suggested that this modern take successfully amplifies the "yearning and earthiness" of the 1811 source material.
The Guardian's questions on 'strange casting' and tone
While the film's visual and emotional tone has been debated, certain specific elements remain unverified or contested. The Guardian's Peter Bradshaw offered a mixed review, noting that while the film is thoughtful and austere, there were "some strange casting decisions" that left him questioning the direction. The report does not specify which cast members or roles prompted these concerns.
As the film prepares for its US premiere on October 16, the central tension remains: can a Gen-Z friendly reboot successfully balance the rigid social rules of the 18th century with contemporary storytelling? Whether the film is a fresh reimagining or merely a conventional adaptation remains the primary question for audiences when it hits screens later this month.
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