6/10
With an abundance of press, advertisements, and mounting excitement leading up to its premiere, Wuthering Heights has arrived carrying more hype than it could handle.
The film is a screen adaptation of the classic novel of the same name written by Emily Brontë. The movie is directed and interpreted by Oscar-winning Emerald Fennell (Saltburn, Promising Young Woman). Starring Margot Robbie and Jacob Elordi, two of Hollywood’s most recognizable faces, the film garnered immense anticipation before its release.
While the movie isn’t atrocious, it feels held together by fame. The costumes, music, and sets are excellent, but they simply function more as decorative embellishments than as tools to deepen the narrative. It’s a movie for those who enjoy a visual spectacle, but those who seek a complex plot or nuanced storytelling will walk away disappointed.
Set in the early 1800s, the film follows the twisted love story of Catherine Earnshaw (Margot Robbie) and Heathcliff (Jacob Elordi). It begins with their childhood, focusing on the intense bond between young Catherine Earnshaw (Charlotte Mellington) and young Heathcliff (Owen Cooper), before shifting to Catherine’s struggle navigating her relationships with Heathcliff and her eventual husband Edgar Linton (Shazad Latif).
Robbie outshines nearly every other actor in the film, effortlessly switching between panic, distress, joy, and pain, developing each with depth and maturity. The soundtrack amplifies her work, which shines through not only her voice but also her body language and expressions. Robbie manages to deliver heart-wrenching scenes and flawlessly provides much-needed comic relief, ultimately carrying the weight of the film on her shoulders.
While Elordi performs well, the gap in acting experience between him and Robbie is palpable. Elordi’s appeal seems to rely as much on looks as acting. Elordi is undeniably attractive, making it hard to know whether to admire the character or just him. Although he’s not inadequate, his charm only caters to certain audiences.
At first, Isabella Linton (Alison Oliver) is humorous, but she quickly becomes overused. Isabella is Edgar’s ward and quickly becomes obsessed with Heathcliff, but her part feels awkwardly forced. She’s overscripted, and after a few scenes, her antics become repetitive and tiresome. They suck the laughter out of the theater, leaving the audience stunned into silence.
Isabella’s intentions seem to get lost in the script, including the seriously disturbing scene where Isabella behaves like a dog and is chained to the wall. Even worse, it’s played for comedy. It’s so chaotic that the audience is left wondering whether it’s a gothic tragedy or an elaborate dare.
Old Mr. Earnshaw (Martin Clunes) is captivating. Though the character is deeply unappealing, he is portrayed with precision, depicting the complexities of abuse and manipulation. Despite limited screen time, Clunes controls the film each time he appears on screen, commanding attention with his compelling acting.
Other characters, such as Nelly Dean (Hong Chau) and Latif’s Edgar Linton, are painfully tedious. Chau’s scenes are stiff as a board, and Latif struggles to hold the audience’s attention—he is easily outshone by his co-stars. By this point, the wind works harder than the supporting actors.
Child actors Mellington and Cooper, however, are outstanding. Their chemistry is more real than that of the leads, and Mellington’s emotion feels raw and real. They capture the innocence and chaos of childhood as well as the premature pain of their connection. It’s the only authentic relationship to root for in the film.
Along with the stunning acting, the cinematography, costumes, and soundtrack of the film are exquisite. Most of the allure of the film is in its gorgeous sets, intricate costumes, and the irresistible feel of forbidden love.
The gothic ambiance is set to a backdrop of England’s moors and Charli xcx’s emotionally chaotic tracks. It never fails to elevate the anguish, turmoil, and all-consuming love of Catherine and Heathcliff. On all these points, the movie delivers perfectly, but even the prettiest package doesn’t hide the lack of substance underneath.
After the first half of the film, the plot seems to evaporate. With the two main characters spending most of their time gallivanting on the breathtaking moors, the movie feels like an extended perfume commercial: romance, and no depth. Catherine and Heathcliff squander the rest of the movie sneaking around together, and quite honestly, it’s unengaging (unless you solely bought your ticket to enjoy Elordi’s looks). Too much chemistry but not much conversation.
The believably sweet and earnest love story of Catherine and Heathcliff’s childhood gives way to a confusing and muddled storyline that makes the second half of the film hard to watch. The costumes are layered, but the characters not so much.
Despite all these inconsistencies, the ending of the movie is both heartbreaking and sweet, as the script finally finds purpose again. Catherine slips away into the quiet of her room, and Heathcliff mourns over her lifeless frame, a heartwrenching scene that causes even Edgar to sympathize with Heathcliff. Moments before the film ends, it flashes back to Catherine and Heathcliff’s childhood, bringing the movie full circle and returning to a part of their story when the audience actually rooted for them, ending the movie on a bittersweet note.
Overall, the movie is more of a lust story than a love story. The film received so much hype and popularity before its release because it features two attractive actors in the lead roles, reflecting marketing that prioritizes star power and physical appeal over narrative depth. Today’s audience is enticed and captured by films that feature attractive and famous actors, whether or not the movie itself is good. Wuthering Heights is proof that beautiful people brooding in dramatic lighting still need something to do.
Apparently, love may be eternal, but plot development is optional.
