First review of Wuthering Heights revealed: The first reviews of Emerald Fennell’s highly anticipated Wuthering Heights are in, and they paint a sharply divided picture of the filmmaker’s audacious take on Emily Brontë’s classic novel. The adaptation, starring Margot Robbie as Katherine Earnshaw and Jacob Elordi as Heathcliff, has sparked intense debate among critics, with most calling it a hollow misfire.
Critics are divided over the casting of Wuthering Heights.
Independent described the film as a “surprisingly hollow work”. The review argued that Fennell uses the guise of interpretation to remove the emotional violence and complexity of the novel, and replace it with marketable romance tropes. Recognizing that many adaptations only cover the first part of the book, a tradition dating back to the 1939 film, the critic suggested that tone, not accuracy, is the central issue.
An excerpt from The Independent review reads, “With its title stylized in quotation marks, and a director’s statement that it aims to capture her experience of reading the book at the age of 14, it uses the guise of paraphrase to flog one of the most sentimental, emotionally violent novels ever written, and then layers it on whatever romance tropes seem most marketable. Adaptation or not, it’s astonishing. It is a hollow work.”
Guardian Echoing similar concerns, the film was called an “emotionally hollow, brass-screaming misfire” that abuses its leads, although it praised Martin Clunes’ performance. In a more detailed critique, the outlet argued that the film lacks the “live-ammo effect” of Fennell’s previous work Saltburn and even Andrea Arnold’s 2011 adaptation, which it described as flawed but spiritually faithful. The review said, “For Fennell, it looks like a spectacular gesture of nonchalant abandon. It’s semi-erotic, pseudo-romantic, and then ersatz—a club night of sad, fake emotions.”
Collider, in its review titled ‘Emily Brontë Is Absolutely Rolling in Her Grave’, Also took issue with the adaptation’s deviation from the source material, claiming Fennell “has taken a knife and destroyed some of the book’s most important characters.” The review criticized both the casting and characterization, arguing that Robbie seems too mature for Cathy and that the character has been re-imagined as a “rich girl” rather than a fierce, boisterous presence. It further states that the film transforms Cathy and Heathcliff’s toxic dynamics into a more traditional star-crossed romance, reducing the psychological tension that defines the novel.
Not all reactions were negative
Diversity acknowledged that literary purists might object, but suggested that Fennell had exploited a sentimental undercurrent long present in the text. Variety’s review highlighted the film’s heightened erotic charge and the changing power dynamics between Cathy and Heathcliff.
The review states, “Highlighting the elements of bondage, the film opens with ropes creaking and what sounds like erotic gasps, and although Fennell plays a trick – the image does not necessarily match your imagination – she has essentially made an erotic suggestion from the start.”
BBC offered a more balanced and ultimately positive view, describing the film as an “extraordinary whirlwind”, sexy, melodramatic, sometimes comical and often romantic. While acknowledging its stylistic excesses, from the Oscar-ready costumes to the explicit sexual frankness, the review argued that Fennell has successfully channeled some of the essentials from Brontë’s novel. The BBC review said, “Jealousy, anger and vengeance for Cathy and Heathcliff are as natural as their endless passion for each other. If you embrace the film’s adventurous style and think of it not as an adaptation but as a reinvention, this bold, artistic Wuthering Heights is utterly absorbing.”
About Wuthering Heights
Wuthering Heights is the latest film adaptation of Emily Brontë’s classic 1847 novel, directed by Emerald Fennell. The film stars Margot Robbie as Katherine Earnshaw and Jacob Elordi as Heathcliff. It covers the first part of the novel, following the tradition of earlier adaptations, including the 1939 version and Andrea Arnold’s 2011 take.