Content warning: this review talks about sex in various forms.
Welcome to Part 4 of looking at various adaptations of Wuthering Heightsand seeing if they can capture the spirit of the book by Emily Brontë. Today, I’ll be looking at the 2026 movie starring Jacob Elordi as Heathcliff and Margot Robbie as Catherine.
Normally, I would review this one at the very end, but because it came out this past weekend, I wanted to get my thoughts out on it while it was still fresh like the fish Catherine fingers at one point.
At this point, I would describe any differences between the book and the film in question, but the truth is that this is the least faithful adaptation of the story. I can go on and talk about all the liberties it takes, yet that would take at least 3 pages, and I have other things to dive into. What I will say are four things:
- The second half of the book, the supernatural elements, and Mr. Lockwood are omitted.
- Hindley is absent. Much of this character is absorbed into Mr. Earnshaw (played by Martin Clunes who was in the 2002 version of Goodbye, Mr. Chips).
- Edgar and Isabella aren’t siblings. She is his ward. Why? That will be covered later in this review.
- The tone goes from a gothic horror to a tragic BDSM-infused romance.
The best way to paint this movie is as a reimagination. Like I mentioned in the review of the 1939 version, I strive to judge it by what it sets out to be as opposed to what I want it to be. Writer and director Emerald Fennell has stated in interviews that she wanted to recreate the feelings she had when first reading the novel at age 14. She saw it as a shocking, bodice-ripping romance between two troubled people. When seen through those lenses, it doesn’t work.
This film tries very hard to be provocative with scenes that equate sex with violence. This is especially true with the opening scene that involves a hanging. Even kneading bread has sexual connotations. In addition, throughout, Catherine and Heathcliff have plenty of sexual encounters, something that’s purposely absent from both the book and other versions I’ve seen. And yet, they keep their clothes on, and it’s mostly a montage of them making out. The only time in which the film comes closest to being effectively sexually disturbing is Isabella’s transformation towards the end, and that mainly due to Alison Oliver’s 110% commitment to the bit. This makes it a disappointing viewing because the previews and trailer promised so much, and Fennell has implemented provocative, sexual content in her prior films Promising Young Woman (in which she won an Oscar for the screenplay) and Saltburn to a better effect. On top of that, there are two other adaptations that contain elements that are far more disturbing than anything that occurs in this one.
Despite all of my criticism with this reimagining, it wasn’t a complete bust. Say what you want about Fennell, but she can provide a visual feast with her movies. The cinematography was impeccable with brilliant shot compositions, particularly with Heathcliff riding off into the blood orange sunset. The production design is fabulous with the starkest contrasts between the two estates. Wuthering Heights the house is literally falling apart with a dilapidated roof as well as is filled with cold and bare rooms and short ceilings that Heathcliff has to crouch down. Thrushcross Grange is a rich person’s dream with an immaculate garden and a minimalistic, but beautiful interior. Even the costumes, which I was skeptical of prior, work well in the context of the movie. They might not be historically accurate, but they look good and fit the characters’ moods in plenty of scenes even though I laughed out loud when I saw Catherine’s wedding night gown. Regardless, Fennell’s got the eye for style. And, the soundtrack by British pop singer Charli XCX weirdly works. I don’t know if I will remember it, but it fits the vibe.
Finally, this review wouldn’t be complete without talking about the performances. The casting has been controversial since its announcement nearly a year and a half ago, but was it worth it? Well, not really. Margot Robbie, who’s been on this website before as the titular character in Barbie, plays Catherine. She received a lot of flack for being blonde and too old to play a teenager. My problem with her was that she looked too Malibu to come from the Yorkshire Moors. Now that I’ve seen the movie, I thought she was solid. She played up Catherine’s brattier aspect even though she still doesn’t look like she belongs in that area.
Jacob Elordi, who’s best known for his performances in the television show Euphoria, Fennell’s previous film Saltburn, and his Oscar-nominated turn in last year’s Frankenstein, takes on Heathcliff. His casting was the most controversial because he’s another white guy playing a racially ambiguous character. It also adds insult to injury because the last major film adaptation cast an actor of color as that orphan, and that was from 2011. It’s even worse when the 2026 version decided to have color blind casting with Asian-American actress Hong Chau as Nelly and Shazad Latif – an actor of Pakistani descent – as Edgar. The latter is usually played by a white guy. This is why Edgar and Isabella aren’t siblings in this one because Alison Oliver is white. I’m all for color blind casting, but Wuthering Heights is not the story to do that with, especially with all the whitewashing that has occurred with its protagonist for many years. Anyway, Elordi is not given a whole lot to do besides being a romantic hero, but he does good with what he has, especially when he shows his manipulative side in the latter half.
The rest of the performances are good. Chau depicts Nelly as more devilish than other interpretations, and Latif’s Edgar is more whipped because of his love for Catherine. Clunes is great as the grotesque and abusive Mr. Earnshaw. He’s always had a knack for playing volatile characters like his take on Mr. Chips in the 2002 PBS television movie. The best performance in this flick goes to Alison Oliver, who plays Isabella. Isabella is a character I never thought too much about. She is naive and basically exists to be a pawn in Heathcliff’s game, yet Oliver takes her to new heights (no pun intended). Her Isabella is a socially awkward and dorky psychopath. I understand that this Isabella is not the same one from the novel, but I adore Oliver’s performance. From the moment I first saw her retelling the plot of Romeo and Juliet to Edgar, I knew I would enjoy this movie. She steals the scene from almost everyone around her with her weird charm. Her character’s transformation is one to behold. Oliver has quite the range since she previously appeared in Fennell’s Saltburn as the spoiled Venetia Catton. From now on, I’m going to actively seek out films that have Oliver in it, for she’s going to be a star.
The Wuthering Heights 2026 movie is a mess. It tries to be edgy with how it recreates a teenage girl’s first time reading the book, but it eschews the gothic horror tone in favor of the horny, tragic romance. However, the romance doesn’t fully work because it doesn’t go far enough. The casting is mostly a miss. On the other hand, the technical aspects are well done, and Alison Oliver as Isabella is perfection and knows exactly what film she’s in. If Fennell wanted to make a movie with her self-insert making out with Jacob Elordi, she should’ve kept Wuthering Heights out of it. I would only recommend it to those who know exactly what they’re getting into; are Fennell, Robbie, and Elordi diehard fans; and are watching all other versions. Also, if you want a whiplash, watch it after the 1939 adaptation.
Now, let’s see how this one fits into the ranking.
- Wuthering Heights 1939 Movie
- Wuthering Heights 1958 Teleplay
- Wuthering Heights 1950 Teleplay
- Wuthering Heights 2026 Movie
We’ll see how this ranking evolves after I see all the others.
Stay tuned next month when I review the 1967 BBC miniseries with Ian McShane.
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