Sense and Sensibility review – blue-chip cast decorates Emma Thompson’s pleasurable Austen adaptation

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Thirty years later, this richly enjoyable film is back with its quality lineup including Kate Winslet and Hugh Grant alongside Thompson herself Emma Thompson won a screenplay Oscar for this buoyant, vibrant, richly enjoyable adaptation of Jane Austen’s novel. Released in 1995, it was directed by Ang Lee and is a movie with the pleasures of a golden age studio picture of the kind made by William Wyler. It was the second half of Thompson’s Oscar double – she won her first one in 1993 for acting in Howards End – and she is still the only person in Academy Award history to win for acting and writing. With marvellous lightness and gaiety, Thompson found a response to Austen’s comic register, expertly marrying it up to the romance, and 1995 now looks like the golden age of Austen adaptation, having also seen the Colin Firth/Jennifer Ehle Pride and Prejudice on television and Amy Heckerling’s Emma-homage Clueless at the movies. Thompson paid due attention to Austen’s unique and toughly real...
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The best films of 2024 … you may not have seen

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From a Hitchcockian thriller to a shocking documentary, Guardian writers pick their lesser-known movies of the year

I can’t really blame anyone for not seeing Drugstore June in theaters, considering that scattered, super-limited run lasted just a few weeks. (I caught it in a near-empty cinema, on a weekday-afternoon whim, the day after belatedly seeing the trailer online.) But now that it’s streaming on Hulu in the US, you can check out one of the least-discussed but funniest mainstream comedies in ages. Built around the standup persona of comedian Esther Povitsky, Drugstore June is very much a throwback to a time when any emerging comic figure might be awarded their own thinly conceived vehicle. It wasn’t a great trend – Drugstore June’s director, Nicholaus Goossen, made Grandma’s Boy, to cite one example among many – yet here, revived absent big-studio attention (or maybe just with extra love for the game), it produces an idiosyncratic townie detective comedy, with sheltered, self-centered, snacks-obsessed June (Povitsky) trying to figure out who trashed the pharmacy where she (barely) works. Unlike its many Sandler-crew predecessors, Drugstore June has a genuine sense of place, a playful sense of generational self-satire, and an original persona at its center. It’s all the more miraculous at a time when studios big and small don’t care much for making comedies. Jesse Hassenger

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