Nate At The Movies

THIS REVIEW CONTAINS SPOILERS.

Pardon the wordplay, but my Valentine’s Day Weekend is about to be a movie. Starting tonight, I’m seeing a 2026 release every day of this weekend through Monday, and Wuthering Heights had the distinct honor of going first. Liz and Gabe joined us for this one—we’ve earned quite the reputation for roping them into weird movies—and while I certainly enjoyed Wuthering Heights, it sounded like Liz and Gabe enjoyed it even more. This isn’t their review, though, so you get to hear my thoughts.

While I can’t speak to how book-accurate this movie was (Emerald Fennell’s quotation marks around the title lead one to believe that it leans towards the less accurate), I can say that Fennell’s take was equally entertaining and raunchy, though pretty predictable while working within the framework of one of the most replicable love stories of all time. There was so much The Princess Bride in this premise, but we all know which film did it better. I wasn’t surprised by any moments the way I was with Promising Young Woman, but what Fennell lost in shock value, she made up for in squeamishness. Whether that’s a trade I would have approved is up for debate, but the eroticism was pretty prevalent and occasionally icky here, though way more tame than I was expecting. The erotic aspects were a mixed bag for me, to put it simply.

I enjoyed the dynamics between Catherine and Heathcliff as adults and those they surrounded themselves with, but where the heart of their story really lied was in the kids. Owen Cooper and Charlotte Mellington were delightful, both in the first act (which swept me up early) and when they returned in the film’s final moments. What an expert move from Fennell; Cooper and Mellington served as a touching reminder of the true love at the center of this absolutely broken and abusive relationship. I also quite enjoyed some of the side characters, especially Isabella—Alison Oliver absolutely sent it in such an odd role, and it paid off. She was easily the most memorable supporting character for me, and that wink? Priceless.

What I’ve learned two films into Emerald Fennell’s catalog is that she is a very talented visual filmmaker. I loved the look of this movie, especially the surreal playset-like sets (oh my god, the dollhouse—that’s why the sets looked like that! I just had this realization as I’m writing) reminiscent of Poor Things. The world was vibrant and expansive and appropriate for what Fennell referred to as “the greatest love story ever told”. I also enjoyed the parts of the score and Charli XCX’s songs that they used, but I wanted more of it! I’m less in love with the idea of a companion album (though I’m listening to it and liking it as I write this) and would’ve liked more involvement during the film. If we’re gonna change the story, let’s change the story!

The slew of middling reviews for Wuthering Heights had me worried that Emerald Fennell had really whiffed and turned people off with her visceral style of filmmaking. I’m glad to report that, at least for me, that wasn’t the case. Wuthering Heights continued to showcase Fennell’s visual expertise and love for writing scenes that’ll get the people talking as the credits roll—for better or for worse—and with a pair of solid lead performances and a truly very sweet ending (the focus switch to Catherine’s little smile made me smile real big), I’d confidently say that Emerald Fennell still has the sauce, even if Saltburn soured some. I haven’t seen it, so you’ve still got a fan in me, Emerald!