Emma.

Emma. ★★★½

George Knightley: If I loved you less, I might be able to talk about it more.

Stunning. Spectacular. Colourful. Radiant. Delightfully witty yet profoundly inquisitive. A gorgeously balanced and even marriage of modernity and classical structure and form. A thorough joy at all times, provident of a feast for the eyes and ears matched by a fierce artistry that conveys a conviction and confidence that is inspirational, sexy, and supremely sophisticated. Yes, Anya Taylor-Joy and Johnny Flynn are just that hot.

Emma was pretty good too, a faithful and refreshing adaptation of Jane Austen’s last novel that strikes a deft balance between extravagance and frivolity, and textual reverence as well as earnestly handled thematic and social preoccupation. With a beautiful cast set against an improbably more beauteous English countryside backdrop, Emma is a ravishing comedy with a painterly attention to aesthetic detail and a free flowing spiritedness that is intoxicating. At its worst, it is a sensory marvel, and at its best, it is one of the most contemporarily well founded and consistently entertaining Austen adaptations that has come out this side of the 21st Century. Flynn and Taylor-Joy are utterly bewitching, and it is their magnetism that brings the whole experience together under Autumn de Wilde’s assured direction.

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