Stellead Don't listen to the Hype. It's awful

Doomtomylo a film so unique, intoxicating and bizarre that it not only demands another viewing, but is also forgivable as a satirical comedy where the jokes eventually take the back seat.

Ariella Broughton It is neither dumb nor smart enough to be fun, and spends way too much time with its boring human characters.

Gary The movie's not perfect, but it sticks the landing of its message. It was engaging - thrilling at times - and I personally thought it was a great time.

William Reid Grim and dark this is the perfect choice for those sick and tired of the usual sugary romcom fair. It is a satisfying but tortured arc that carries Healthcliff from relative innocence to tortured and sadistic villainy - which Fiennes would later put to good use in "Schindler's List. If the plodding and superficial movie classic from 1939 turned you off Bronte, the deeper character development and dark intensity of this adaptation will awaken you to what all the fuss was about when Bronte introduced her only novel to the world in 1847. It received a poor reception as the depiction of mental cruelty and social hypocrisy were deemed controversial to Victorian sensibilities and it is exactly this stark and harsh commentary on the times that is embraced to great effect in this movie.

Armand it has the gift to be a precise adaptation of the novel. to use the ideal cast , to reflect the real traits of characters and remind the atmosphere chapter by chapter. but, in few scenes, this perfection becomes the profound error. to present everything has the price to ignore details and that fact transforms in artificial parts of film. so, the escape is Ralph Fiennes as the real Heathcliff, not a surprise but real useful for rediscover a character in its profound complexity and Juliette Binoche in a Cathy who represents more than a victim of love. a splendid example of adaptation. only sin - the ambition of perfection of director who gives , in the second part, especially, an impressive work but without soul. but, in fact, that could be only a small detail.

TheLittleSongbird Not the best version of Emily Bronte's masterpiece, on their own terms of the ones personally seen so far the Laurence Olivier and Robert Cavannagh get that honour. None of the adaptations are bad, even my least favourite the 2011 film and while there is a lot wrong this film adaptation isn't a bad one either. The main problem with the film is that it's very rushed which is why the supporting characters(the Lintons in particular, it did affect Simon Shepherd as Edgar too as there is very little sense of meekness which is a huge part of the character) don't get enough time to shine properly with a come and go vibe and why some of the second half felt jumpy narratively. If the film was longer than it was it would have helped. The ending is also far too abrupt and bittersweet and Juliette Binoche did seem too shallow and classy to start with, the giggling was indeed too much. The film is a stunner visually though, the photography is very fluid, the costumes are true to period, most of the make-up and hair is fine though Heathcliff's hair is far too straight and greasy and with the locations you can really feel and smell the atmosphere of the Yorkshire moors. The script is literate and emotional, the famous lines that are included are very well delivered and the story for the first half at least is coherent and respective of Emily Bronte's writing. With it too there is a real sense of broodiness and tragedy. That it included the events after Cathy's death is most laudable. The acting is good enough. Binoche's acting is much improved and she is every bit the self-centred and spiteful Cathy, even without make-up too she is astonishingly pretty. Her chemistry with Fiennes is intense and moving, the scenes on the moors are beautifully done. Janet McTeer stands out in support, Jeremy Northam doesn't have enough screen-time but he plays the tormentor-to-tormented character of Hindley to a tee and Jason Riddington is a charming Hareton. Sinead O'Connor does a lovely job as Bronte herself. The two best assets are the music score and Ralph Fiennes' Heathcliff. The music is hauntingly beautiful with the brooding moments having a shade of melancholy, of all the Wuthering Heights adaptations only the Timothy Dalton version has a better music score. Heathcliff could have been more of a tortured soul here but Fiennes give a truly powerful and often scary- you wouldn't want to mess with or be in the same room as him- performance, but he does bring a humane side too. In conclusion, far from perfect but like the Timothy Dalton version when it's good it is great. 7/10 Bethany Cox

chaos-rampant Famously, this portrays for the first time the whole of the story in the book, it is captivating and moves fast, and Fiennes deserves superlatives as the diabolical Heathcliff, menacing but with the eyes of a wounded animal. There's something worthwhile here. That is the love story with love that was not consummated, not allowed to because they were from different worlds, because even though they connect in a deep way, the rules of the game say otherwise. Different times, but you can assume that it used to be so at Bronte's time, as it was later in Tolstoy's.So they part, but they have grown roots so deep in each other, they cannot be parted, and distance only tears at them, distorts who they are, the distortion as memory. In the prisonworld Heathcliff creates in the end as punishing demigod of sorts, without which the story is incomplete, we can see the stark reflection of both the broader unjust world responsible for Heathcliff, and his private hell of vengeful recurring thoughts, both that stifle the soul.All that is good enough in the film. We get to puzzle about the name of Heathcliffe's adopted son being inscribed in a stone epigraph, on the door of a manor that was built centuries ago.What isn't very satisfying is how we arrive at the story. The character who it is being narrated to, arrives at the manor, pores over books and images of Catherine, is captivated enough to dream of her, which leads to the housemaid's narration of the events. Instead of a dream, the visitor here sees Catherine's ghost, which sets a supernatural tone that is too obvious. Too obvious because though even Bronte suggested ghosts, her main narrative gambit was layered dreaming, the notion that the hidden life of images and urges shapes the narrator's choosing of the story he tells about himself and things, some of which we externalize as destiny or demons, which is what we all do each time we remember, we dream of a story around a fictitious self.But it's wonderful and moving as it is.