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    "original_url": "https:\/\/www.nytimes.com\/2026\/02\/12\/movies\/wuthering-heights-review-margot-robbie-amok-on-the-moors.html?campaign_id=9&emc=edit_nn_20260212&instance_id=170981&nl=the-morning&regi_id=122976029&segment_id=215164&user_id=b25c5730c89e0c73f75709d8f1254337",
    "parsed_content": "What to WatchOscar Nominees: Where to Stream\u2018Sirat\u2019\u2018Pillion\u2019\u2018The President\u2019s Cake\u2019\u2018Calle M\u00e1laga\u2019\u2018The Muppet Show\u2019AdvertisementSKIP ADVERTISEMENTSupported bySKIP ADVERTISEMENT\u2018Wuthering Heights\u2019 Review: Margot Robbie, Amok on the MoorsThe actor and Jacob Elordi play the tortured lovers from the Emily Bront\u00eb classic in this florid, overstuffed version by Emerald Fennell.Listen to this article \u00b7 7:12 min Learn moreShare full articleJacob Elordi as Heathcliff and Margot Robbie as Catherine in \u201cWuthering Heights.\u201dCredit...Warner Bros. PicturesBy Manohla DargisFeb. 12, 2026, 5:03 a.m. ETWuthering HeightsDirected by Emerald FennellDrama, RomanceR2h 16mFind TicketsWhen you purchase a ticket for an independently reviewed film through our site, we earn an affiliate commission.For her shiny new take on \u201cWuthering Heights,\u201d the writer-director Emerald Fennell has drenched the screen with torrential rain, filled it with pantomimes of passion and tried hard to compete with Emily Bront\u00eb. What a mistake! Over the past century or so, Bront\u00eb\u2019s only novel has been nipped and tucked in assorted adaptations \u2014 for film, television, theater, opera, ballet and song \u2014 that have pushed and pulled it in different directions. It\u2019s been glossed up, brought down to earth and read through the lenses of gender, class and race. Yet like its violently emotional lovers, Catherine and Heathcliff, the book resists taming.That\u2019s reassuring to the novel\u2019s admirers, though it must be frustrating to those who try to bend it to their will, as Fennell has attempted to do in her floridly expressionistic telling. Starring the unconvincingly paired Margot Robbie and Jacob Elordi, this iteration takes the usual liberties, as Fennell splashes on the color, cranks up the heat, embraces literalism, piles on surrealistic touches, deploys anachronisms and strives to bridge the past and the present. Like Samuel Goldwyn, who produced the swoony, highly polished 1939 Hollywood version, Fennell (whose movies include \u201cSaltburn\u201d) has also added quotation marks around the title, a move that underlines its provenance and announces her own authorship.Like the better-known screen adaptations of the novel, this \u201cWuthering Heights\u201d only incorporates the book\u2019s famous first half. Published in 1847 under the name Ellis Bell, the book is divided into two volumes rich with meaningful doubles. Shortly after the story opens, Catherine\u2019s father announces that he\u2019s going to Liverpool. A 6-year-old who can, Bront\u00eb writes, \u201cride any horse in the stable,\u201d she asks him to bring her back a whip; her father instead returns with an enigmatic stray, a \u201cdirty, ragged, black-haired child.\u201d Christened Heathcliff, he becomes Catherine\u2019s playmate, her surrogate brother and her great, tormented, tormenting, unconsummated love. Their story ends tragically with unhinged sublimity.Fennell follows the arc of the first volume with some instructive changes. The movie opens with two children, Catherine (Charlotte Mellington) and Nelly (Vy Nguyen), watching a public hanging. As the dying man thrashes, he becomes erect, which turns on some spectators (cue excited leering and even some humping) and introduces Fennell\u2019s blunt approach, including her almost aggressively unsubtle handling of the novel\u2019s linkage of sex with death. Once Heathcliff (Owen Cooper) arrives, Nelly is sidelined as he and Catherine develop an unruly, like-minded conspiracy of two. Soon, though, these synchronized wildings are swapped for Robbie\u2019s dewy Catherine and Elordi\u2019s lavishly hirsute Heathcliff, and they are racing even faster across the moors toward their destiny.Like its appealing leads, much of what follows is lightly engaging for a time. There\u2019s a lot to look at, for starters, from the windswept landscape to the foreboding, dilapidated manor, where Catherine\u2019s family lives and which gives the novel its title. Like the movie\u2019s costumes, the production design here does a great deal of work throughout, telegraphing and repeatedly broadcasting Fennell\u2019s ideas and preoccupations. The lustrous black exterior of the Heights manor, for one, resembles the enormous rock face that hovers right next to it like a threat and, in places, even seems to be jutting through its interior walls. It\u2019s as if the Heights, having been hewed from this hard earth, is doomed, like its characters, to be swallowed up by it.Fennell has ditched some of the novel\u2019s familiar elements, including its framing. In the book, the story emerges piecemeal through a handful of characters, including a servant, who isn\u2019t a necessarily reliable narrator. Although Fennell retains that servant\u2019s name, Nelly (played as an adult by Hong Chau), she is now Catherine\u2019s bookish, peevish companion; mostly she\u2019s just another prop. Fennell also eliminates Catherine\u2019s brother, whom Heathcliff effectively supplants in the novel, helping to stoke its suggestion of sibling incest. Here, though, it\u2019s her father, Mr. Earnshaw (Martin Clunes), who looms first as an emblem of patriarchal authority and then of impotent dissipation, a switch that attenuates the incest theme.Robbie and Elordi hold your attention well enough, though they\u2019re more persuasive apart than when they\u2019re together. Fennell certainly puts them through their paces, giving them a feature-length workout; they run and race, storm and stress. In keeping with her stylized approach, she sometimes puts them in iconic poses \u2014 Heathcliff glowers on horseback against an angrily blazing sky \u2014 as if to emphasize the story\u2019s classicism. As in some other versions, she also makes explicit Catherine and Heathcliff\u2019s love if more overtly, translating Bront\u00eb\u2019s more heated passages into some unsexy grappling. Fennell has been conspicuously taken with the idea of Heathcliff as a whip, which she cracks to diminishing effect.Each iteration of Bront\u00eb\u2019s novel speaks to the era in which it was made, of course (intentionally or not). Watching a movie titled \u201cWuthering Heights\u201d certainly creates expectations, but those can be pleasurably met, subverted or ignored, and what\u2019s on the screen is finally paramount. One problem with Fennell\u2019s take, though, is that she wants to focus on the lovers while saying a lot about a lot. She tosses out ideas about women, men, sex, freedom and dominance, even while eliding the question of Heathcliff\u2019s race, and trying to transmit the power of Bront\u00eb\u2019s writing visually. Some of this is banal. Such is the case when, after some torturous narrative turns, Catherine weds her wealthy neighbor, Edgar Linton (Shazad Latif), her new suffocating life is signaled by a dollhouse replica of her marital home.Catherine\u2019s new home proves quite the 19th-century Barbie\u2019s dream house by way of Wes Anderson and a splash of Tim Burton. It\u2019s crammed with outwardly playful, at times self-consciously eccentric flourishes, like the gleaming blood-red floor of the library, an oddly vast, relatively book-free space anchored by an enormous fireplace crawling with what look like plaster casts of hundreds of human hands. There\u2019s more \u2014 so much more \u2014 including her simpering sister-in-law, Isabella (Alison Oliver), a human kick-me sign, and the soft, light-beige walls of Catherine\u2019s bedroom that have been designed to resemble her skin, marbled veins and all. Why? Why not? Each room offers more sumptuous, strainingly clever details that expound on the same themes without deepening them. It\u2019s like being force-fed candy.Every reader makes \u201cWuthering Heights\u201d into her own, and the same holds true for Fennell. Yet as the movie progresses \u2014 especially after Catherine and Heathcliff temporarily go their separate ways \u2014 Fennell\u2019s embellishments grow more exaggerated and distracting, and her hold on the story becomes increasingly tenuous. When Heathcliff at last returns from his wanderings, he has cleaned up immeasurably. His cheeks have been shaved, and there\u2019s a gold earring winking under his layered hair. He looks the very picture of the dashing, brooding romantic lead. He\u2019s an old-fashioned stereotype, and finally, so too is Catherine. You may miss Bront\u00eb\u2019s strange vision \u2014 as well as the wildness of the woman who loves Heathcliff, who insists she is Heathcliff \u2014 but they\u2019re all still very much alive on the page.Wuthering HeightsRated R for violence, rough sex and death. Running time 2 hours 16 minutes. In theaters.Wuthering HeightsFind TicketsWhen you purchase a ticket for an independently reviewed film through our site, we earn an affiliate commission.DirectorEmerald FennellWritersEmerald Fennell, Emily Bront\u00ebStarsMargot Robbie, Jacob Elordi, Hong Chau, Alison Oliver, Shazad LatifRatingRRunning Time2h 16mGenresDrama, RomanceMovie data powered by IMDb.comManohla Dargis is the chief film critic for The Times.See more on: Margot Robbie, Emily BronteRead 100 commentsShare full articleRelated ContentAdvertisementSKIP ADVERTISEMENT",
    "ai_headline": "\u2018Wuthering Heights\u2019 Review: Margot Robbie, Amok on the Moors",
    "ai_simplified_title": "Margot Robbie Reviews Wuthering Heights Film",
    "ai_excerpt": "Manohla Dargis reviews Emerald Fennell's adaptation of 'Wuthering Heights' starring Margot Robbie and Jacob Elordi. The review critiques the film's florid and overstuffed approach, highlighting its liberties with the source material. It discusses the film's visual style and the performances of the leads.",
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