Wuthering Heights (2026) Review: An Underwhelming Spectacle!

There is often a common desire to see adaptations of classic novels that mirror the aesthetic, characters, and plot points of the given book in a way that matches the allure of its history. In this way it becomes a risk for filmmakers to stray from the traditional path of the novel in favor of “pleasing” audiences who have an attachment to the literature. This has always been a point in media criticism that feels unfashionable, as film is a separate medium from literature and therefore has a duty to create art that is in favor of the desired medium.

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Wuthering Heights, a novel written by Emily Brontë in 1847, has always been categorized as a classic in a way that has inspired filmmakers to adapt its story to give its characters life outside the page. Emerald Fennell, whose feature films include Promising Young Woman and Saltburn, has taken on the challenge of developing yet another adaptation of the beloved novel with the flair she has quickly designed over the past few years.

What felt like a time for a fresh version of the classic tale, Emerald Fennell, the writer and director, has developed a film with her own interpretations and desires in mind, using the title as a way to bring in audiences without taking on any of the layered themes that make the story what it is so acclaimed for.

Catherine and Heathcliff have been best friends since her father brought Heathcliff home off the streets of Liverpool in 1771. Despite characterizing him as her “pet” Catherine and Heathcliff develop a sense of love for each other. It isn’t until Edgar and Isabella Linton move in nearby that their wealth and status drive Catherine to visit them in hopes of courting Edgar Linton, which in turn would bring her into high society.

However, when Catherine and Edgar decide to marry, Heathcliff is heartbroken and leaves. When he eventually returns years later, both Heathcliff and Catherine are confronted with desire and passion for one another, risking everything for love. Despite Wuthering Heights having a second half of the novel examining the aftermath of Catherine’s death, Fennell’s adaptation focuses on the first half of the novel in which Catherine and Heathcliff’s love affair is at its center.

As mentioned before, creative liberty can be taken through a novel to film adaptation, however Fennell’s sole focus on the romance between her two characters, abandoning themes of classism, familial trauma, and death as it relates to the supernatural makes it a story that could have easily been made original without an attachment to an already established body of work.

The utilization of the title is a great disservice to both it and the literature especially because Fennell decides to not take on the more difficult elements of the story. This makes it seem as if the filmmaker did not have enough confidence to develop such a layered story but instead wanted to mask it behind two mega movie stars a surface level take on romance and obsession.

As far as the romance between Catherine and Heathcliff goes, Wuthering Heights feels hollow and soulless in its exploration of love and desire. Margot Robbie and Jacob Elordi are highly miscast in the roles Fennell wrote despite the talent they both have shown in their respective careers.

The chemistry between the two banks on their attractiveness both separately and together, which is not strong enough to drive the tale Fennell is trying to tell of a decade long bond of friendship and romantic love. The spark that wants the audience to long for these two to get together and bask in the allure if their affair has difficulty matching up to the grand scope of the film itself.

The trope of childhood friends that are separated and then long for each other later in life despite one being in another relationship is a story element that is popular for a reason. It allows the audience to grapple with what could have been and the ideas of fate. However, Wuthering Heights does little to go above and beyond this idea because of lackluster writing that never allows the audience’s hearts to melt and break with its characters.

Where Emerald Fennell succeeded is in her direction, the gorgeous production design of the film, and the more modern costuming that made the story feel like the fantasy she was trying to create. The cinematography has a gothic undertone to the luxurious and dazzling set designs where as breathtaking as the sets are, the underlying dark atmosphere matches the foreshadowing of destruction and heartbreak that will follow.

With so many period piece films looking for accuracy in its production and costuming, Fennell’s decision to modernize the outfits and music gives it a more electric aura that can be appreciated for its originality. Charli XCX’s accompanying songs for the film mixes softer tones of longing with bass that feels as intense as Fennell is trying to make the film, even if it can never quite match Charli XCX’s energy. The more cinematic elements of the film outshine the writing and casting of the film heavily, making it so much more clear the pitfalls of Fennell’s script and her own selfish interpretations of the original work.

Wuthering Heights may enchant some looking for Netflix type quality romance but for those longing for a story worth dying for, this film never proves itself as a worthy adaptation.

‘Wuthering Heights’ Rating – 2.5/5