To explain 2026’s Sense and Sensibility to the superhero only boys reading this: this is the equivalent of trying to make the Dark Knight again when the 2008 version exists. Jane Austen’s Sense and Sensibility doesn’t need a new adaptation, because Ang Lee’s excellent 1995 version exists already, and still rocks today. But IP demands means adapt we must. Thankfully, 2026’s S&S Remix isn’t a disaster: but it never quite justifies why it should exist outside of trying to get Austenites into the seats to watch it.
Georgia Oakley’s version has the same general beats of Jane Austen’s novel. The story is about the Dashwood family, specifically, sisters Elinor (Daisy Edgar Jones) and Marianne (Esmé Creed-Miles). The death of the family patriarch forces the family to move to a Devonshire cottage. But that doesn’t stop Marianne from dreaming of a life of love; sadly, the more reserved Elinor accepts her lot in spinstress life. Beautiful women like those two mean suitors will come for them, like the stoic, sad Colonel (Herbert Nordrum), the dashing John Willoughby (Frank Dillane), and the noble Edward Ferrars (George MacKay), all who bring different things to the table for Elinor and Marianne.
One way this 2026 Sense and Sensibility differentiates itself from the 1995 version is going for a more naturalistic look. Gone are the bright sunny days for more…moors style. It’s a lot of candelight and more overcast look. From there, we spill over to the outfits, more grey, brown and blue forward instead of razzle dazzle pop. This broad cascading has consequences though: the dance sequences and gorgeous sets never get their due. Like Elinor, all this specific, beautfy is forced into the background because of these lighting choices, putting even more burden on the actors to make their scenes and Austen’s words the true center of this timeless tale.
The malleability of Sense and Sensibility comes from the chemistry between the characters. Oakley figures out which pairings work best and the rest stays on the cutting room floor. What stands out in 2026 is more focus on the Dashwood family. While this torrent of romance goes on around Marianne and Elinor, more than the 1995 version they check back in with one another. This makes them support one another through mistakes and growth (especially for Marianne), leaning on the wonderful Austen dialogue between Daisy Edgar Jones and Esmé Creed-Miles, as well as mommy Dashwood Caitriona Balfe and younger sister Margaret played by Bodhi Rae Breathnach. Throw in Fiona Shaw playing her 9,827 version of a crazy relative, and you have Devonshire cottage a great hang. Unfortunately, 2026 is not a place for the boys. Frank Dillane, Herbert Nordrum, and George MacKay are all good actors, but the characters they have to inhabit fall too deep into the shadows of the 1995 counterparts. Only MacKay comes out ok, but that’s because he’s excellent at displaying an inner life the other two don’t have in this film.
Still, Sense and Sensibility is a great reminder of the brilliance of Jane Austen. In an era surrounded by men, her work remains wonderful as ever, viewed through a more modern lens this time. My biggest complaint is why Caitriona Balfe is now just “the mother” character. She would have made a fine Elinor Dashwood, she’s still got it as Outlander reminded us, over and over again.