I can’t say I've encountered a film featuring Margot Robbie where I truly grasped the widespread enthusiasm—"Barbie" being the one exception, although even then, Ryan Gosling’s performance in entertaining while looking good seemed to be the main draw. In this instance, she depends on Jacob Elordi for similar support, and if possible, he's even more stiff than she is. He certainly possesses the looks that would serve him well in a wet shirt competition, but that pretty much encapsulates how disappointing this adaptation of Emily Brontë’s novel turned out to be. “Cathy” is the child of the affluent but volatile “Earnshaw” (Martin Clunes), and has maintained a close bond with his ward “Heathcliff” from a young age. However, as her father spends their dwindling funds, she needs to find a way forward. Perhaps the newly arrived wealthy gentleman “Edgar” (Shazad Latif) could provide an answer? While observing him one evening, she twists her ankle, inadvertently securing an invitation to stay with him and the ribbon-obsessed “Isabella” (Alison Oliver). Annoyed by this turn of events, before we know it, the brooding Heathcliff has taken their only horse and departed in a fit of pique. Several years pass before he returns, now a wealthy man, during which time she’s married and expecting a child—but can they resist each other now that they occupy similar social circles? The original story's strength lies in the gradual but impactful development of its characters and the intense, raw narrative unfolding against the backdrop of the desolate Yorkshire landscape. This version, however, leans too heavily on what we can see and what we might already assume about the characters, resulting in something rather superficial. It’s evident that considerable effort was invested in the production's visual style, but the screenplay has been reduced to a form barely recognizable, and when opportunities arise for it to truly engage us, they resort to music reminiscent of Enya from Charlie XCX, who may actually be the most creative element here. I regret to say this was a significant chance missed to reimagine one of English literature’s most enduring and destructive love stories; instead, we're presented with an abundance of style over substance. More lifeless than wild, and no emotional peaks for me—it’s easy to see why they’ve been promoting it so aggressively.

Source on TMDB