Jane Austen
- Writer
Press clippings
Emma review
Autumn de Wilde's adaptation ramps up the comedy, but Anya Taylor-Joy remains wonderfully edgy as Jane Austen's meddling heroine.
Mark Kermode, The Observer, 16th February 2020Review: Emma
All in all, this feels like an opportunity missed, a waste of talent and potential.
Susan Singfield, Bouquets & Brickbats, 15th February 2020Emma shows aristocracy's changed but narcissism hasn't
If the great and good applaud Emma's message before swiftly resuming normal service, it's no less than Jane Austen predicted.
Gwendolyn Smith, i Newspaper, 14th February 2020Respectful new take on Emma is Austen powered
A new adaptation of 19th-century literary classic Emma is fresh, smart and a visual feast - even with the surprise bum flashes.
Graeme Virtue, The Big Issue, 14th February 2020Emma review - sweetness, spite and bared bottoms
Anya Taylor-Joy revels in the role of the handsome, clever heroine with a sadistic streak in this amiable adaptation of Jane Austen's great romcom
Peter Bradshaw, The Guardian, 14th February 2020Emma review
Full of charm, a welcome dose of humour and packed with a stellar cast, director Autumn de Wilde has brought Jane Austen's Emma back to life in a brand-new adaptation of the much-loved novel.
Olivia Hill, The Digital Fix, 13th February 2020Review: Emma
Tonally iffy but gorgeous and well-performed Austen adaptation.
Emma Simmonds, The List, 10th February 2020Review: Emma
A sumptuous Emma... and she looks like she's a bit of a handful.
Brian Viner, Daily Mail, 5th February 2020Emma review: An unexpectedly sexy Valentine's Day watch
Anya Taylor-Joy plays the aristocratic matchmaker Emma in this chocolate-box adaptation of Jane Austen's beloved novel.
Flora Carr, Radio Times, 5th February 2020Sara Pascoe: how I overcame my Jane Austen prejudice
Austen's women have the same rights as children; her 'romantic' match-making smacks of desperation. So how did the standup see the funny side of Pride and Prejudice for her new stage adaptation?
Sara Pascoe, The Guardian, 1st September 2017