February 13, 2026 • 27 mins
In this episode of TV Reload, hosts Benjamin Norris and his movie review sparring partner Brose Avard discuss the 2026 film adaptation of Wuthering Heights. They dive into the movie's themes of love, trauma and obsession. Plus share their thoughts on the performances of Margot Robbie and Jacob Elordi. The hosts also discuss the film's direction, cinematography and score, With thoughts on the original novel by Emily Brontë. With a mix of humour and insight. They dissect the movie's portrayal of complex relationships and the societal pressures that shape them.
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Episode Transcript
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Speaker 1 (00:00):
It's in the news today, but it was actually on
TV Reload the podcast last week that Hey, everyone, welcome
back to TV Reload. My name is Benjamin Norris, and
once again I'm joined by my movie review sparring partner bros.
Speaker 2 (00:12):
Ard barring partners better than partner in crime.
Speaker 1 (00:14):
I like that, that's kind of I was trying to
play on that, but also I was going to say
the potential inspiration for Kate Bush's original song Wuthering Height.
Speaker 2 (00:23):
Yes, indeed me just me, you're saying, or just.
Speaker 1 (00:28):
How old were you when that song came out?
Speaker 2 (00:29):
Well, year did it come out?
Speaker 1 (00:30):
I was probably three or something, nineteen seventy eight.
Speaker 2 (00:33):
Oh I was born No, no, no, it wasn't even on.
That wasn't even registering. I do think Wuthering Heights by
Kate Bush, and with the resurgence of the Muppets, that
there should have been some kind of Muppets Wuthering Heights crossover.
Miss Piggey doing Weathering Okay, and then I'll let the
Muppets then go every week.
Speaker 1 (00:49):
It's in your contract. Please don't bad.
Speaker 2 (00:53):
How good would that be?
Speaker 1 (00:54):
Anyway?
Speaker 2 (00:54):
It doesn't matter. Yeah, Wathering Heights, wasn't that a lot
of fun, Ben, you want to tell us what it's
all about.
Speaker 1 (00:58):
It is a sweet, tortured, deeply chaotic love story featuring
two of the most genetically blessed humans on the planet,
Margo Robbie and Jacob ELORDI would you say it's a comedy,
it's a romance.
Speaker 2 (01:13):
It's definitely like an epic romantic period piece.
Speaker 1 (01:16):
Before we unpack it, let's set the tone with a
quick thirty second promo? How do you fit this movie
into a promo? This way? Listen?
Speaker 2 (01:29):
He loved me?
Speaker 1 (01:31):
You loved me?
Speaker 2 (01:33):
Then what right did you leave me? Tita?
Speaker 1 (01:38):
You'll be sure your own heart and in breaking it,
you've broken mine.
Speaker 2 (01:44):
Tight up, Nellie, but you'll not breathe.
Speaker 1 (01:48):
Tight up TuS, Tita.
Speaker 2 (01:54):
Oh man, how was this film for you? Ben? You said?
Now you tell me what you told me a little
after you when you walked out last night? What was that?
Speaker 1 (02:00):
The one thing I said was everyone loves a whiff
of perfume, but they wouldn't drink the bottle. Well that's
where it sat when I came out of the film.
Speaker 2 (02:09):
Yeah, it's isn't it a hell of a film. I
didn't expect to enjoy it at all and I think
I enjoyed it. I you know, it trucked along at
a good pace, and the performances are good and the
direction's fantastic. Emerald Fanel wrote the script and directed, and
she did a great job. She's a great director. Salt
Burn was her last effort and.
Speaker 1 (02:26):
Then Promising Woman.
Speaker 2 (02:28):
Remember that Missing Young Woman? Did you watch a Lot?
Speaker 3 (02:31):
Yeah?
Speaker 2 (02:31):
I love that film wlthough. That was very good. So yeah,
all that stuff's really good. But it's a lot though.
Speaker 1 (02:36):
This is the summarizes this film. This one particular character dies.
I don't want to give that away now, characterize it's
from drinking. And in the background you see not just
the bottles. Yeah, but it was not like thirty bottles.
There was like thousands of bottles stacked up like a
perfect Christmas tree at Christmas time. Everything that this movie does,
it's like just times it by a million. I feel
(02:59):
like the creative people sitting around they're like, you know,
we could have a couple of bottles next to the
dead body, or we could have mounds of gin bottles
that are all the same gin bottle, all the same color,
neatly stacked up behind. You know, no subtlety has ever
been thought of in this movie.
Speaker 2 (03:14):
The one big issue I had with this film, and
I'm going to bring it out early, is I think
the timelines were all stuffed up. I never got a
real sense of how time was passing and how much
time was passing. So at one point, she hadn't visited
her dad in a couple of years or a few
years or whatever, and we've just seen her get married,
like we didn't even know what stretch of time had
happened before she went back. And then we get the
(03:35):
reappearance of Heatcliff, and that's five years or almost five
years apparently. But again there's no sense because Mugot Robbie
doesn't change. Really, she doesn't look any different in any
scene the disappearing reappearing freckle. Did you notice that at
one point heat Cliff licks the freckle on the wall, Well,
then licks the one on her face. Yeah, would be
better if it was a nipple on the wall. I
(03:57):
suppose instead of.
Speaker 1 (03:57):
Them too far, you were on the money with these timelines,
because there's also this point where she's like spoiler alert.
Speaker 2 (04:04):
Spoiler alert for a film that was first or a
book that was first adapted in nineteen thirty nine.
Speaker 1 (04:09):
Even the part where she is then with child. Yeah,
we get a good chunk of the movie and montages
of enormous amounts of sex with Margot, Robbie and Jacob
Alordie like a LORDI.
Speaker 2 (04:21):
A LORDI lou.
Speaker 1 (04:22):
We got some sex for Jacob a Lordie. But then
all of a sudden, it was like, how long has
she been keeping theircret? You know, like, don't mean to
be crass. He's been down on her, He's been up
on her, she's been down on I don't know, he's
been behind in front exactly. I mean there's people out
there learning and probably with a notepad writing down it's
not what they can do with their loved one. But
(04:42):
we saw so much of that.
Speaker 2 (04:44):
Yeah, and it felt like.
Speaker 1 (04:45):
That part was telling a story of like two to
five years.
Speaker 2 (04:49):
Yeah. Usually a montage is a longer period of time,
and obviously were then rushing through it. But maybe each
cut in that montage was just one day. I don't know,
and it was just very vague. Yeah, I mean, it's
a mine quibble, but it's one that bugged me. I
will say it was a majority of female audience. Oh,
I might have been the only male in there, but
they mightn't want to others it was hard to tell.
And they loved it like spectacularly. And I know I
(05:12):
was in a cinema full of people that will go
and see the second time, so it definitely appeals to
that audience. I probably will watch it again too, when
it comes out on streaming or something too. It is
a beautiful looking film, and it's big and it's you know, bombastic.
So Margo, Robbie and Jacob E LORDI, let's drill down
on them. Got to ask you a question. Is Jacob
ELORDI hot?
Speaker 1 (05:33):
I can only see a high school private school boy
that he is equally lusted and loathed by the entire
year level from school. Do you know what I mean?
Speaker 2 (05:43):
Yeah, I know what you're saying.
Speaker 1 (05:44):
There were scenes in the movie where he just looked
like some He didn't even look like he was trying
that much. He was like, I'm just being an arrogant
football player, and like, okay, I'm gonna say yes, I'm
going to say he is an attractive person because I
thought he was attractive in Saltburn and everything else. Do
you know what I mean? I just think in this
role he is filthy he looks like passions of the
(06:08):
Christ Jesus for a good part of the movie with
a missing tooth. Well then, which brings me to another point.
What was worse no tooth Jacob Elordi.
Speaker 2 (06:17):
Or gold toothoth? The problem with the no tooth thing
is constantly when he's on screen, I'm like, it's just
blacked out, isn't it. They haven't even c gi'ed or anything.
It's just literally they've blacked out the tooth with some
texter or something. And then the gold tooth is like,
I don't know if that to be any more comfortable
for the actor or it was very distracting the tooth thing.
Speaker 1 (06:36):
The tooth was weird. It was a weird choice. Like
sometimes when you think about Nicole Kippen's nose in The Hours,
was it needed? Did you need the nose? Did you
need the missing tooth?
Speaker 2 (06:45):
Did you an oscar oscar Win?
Speaker 1 (06:46):
He knows that knows those And it's.
Speaker 2 (06:49):
Weird, isn't it? Because he went from being Frankenstein's monster
to Bronte's monster kind of in two films as well,
because obviously Gelmel del Toro's Frankenstein he was in as well.
But yeah, I Look, I think he's hot because Heythcliffe
is hot in this film. Like you know, he is
a rugged manly, he's doing physical things. His accent is
really good in this Jacob Alordie that is so Yeah. Look,
(07:12):
ultimately I guess he's hot in this film. For me overall,
I've got to take it film by film. With Jacob Elodie,
I don't know if he's a hot actor yet or not.
But we'll see, We'll see. It doesn't get better.
Speaker 1 (07:22):
He's also a very very very very very good actor.
Speaker 3 (07:25):
And he does the Heathcliff that line between being so
in love and generous with that emotion, but then also
very very very cruel. It's also hard to know what
he's thinking sort of thing.
Speaker 1 (07:37):
Whereas Kathy.
Speaker 3 (07:38):
You know what Kathy's thinking at any given moment, she
wears it on her face and she says it. But
with Heathcliff, he kind of doesn't.
Speaker 2 (07:46):
But yeah, Margo Robbie, I think Margo Robbie does a
good job, but I don't think at the time she
has enough to do either. How much does it feel
like her life when she marries Edgar is just her
being Barbie again?
Speaker 1 (07:56):
I know? And it was hard to skip away from that,
do you know I kept coming back to Barbie. The
other thing that I thought was wild with this movie,
especially because of how many iterations there's been and how
many choices there's been with that character. She was very unlikable,
like she was really Braddy. You know. Yeah, I think
(08:17):
overall it's a mixed performance. I don't think it's as
consistent as it should have been. But she was very
daring in the spaces and places that she took her
character portrayal of. Did you sympathize with Catherine with Marco
Robbie's portrayal of her, or did you feel like I did,
completely fucking exhausted.
Speaker 2 (08:37):
Well, the thing is, do I really empathized with Edgar
as well? Yeah? I felt really bad for Edgar because
he didn't do anything wrong, like he did everything she
wanted him to do.
Speaker 1 (08:46):
Edk you really do feel for but you know, gross
and balls, mate, I mean, are we supposed to believe
that he puts up with this British behavior from her
just because she's beautiful? Like?
Speaker 2 (08:55):
Yeah, I guess there's a parallel too, because you know,
there's the storyline that Haycliff is Kathy's pet and then
later on, Kathy kind of becomes Edgar's doll.
Speaker 1 (09:05):
I suppose, yeah.
Speaker 2 (09:07):
In the big pink doll house and the floral swing outside, etcetera, etcetera.
So yeah, you're right, I guess that's a parallel. And yeah,
you don't really ever get a sense of who Edgar
is anyway or what he does is in textiles as
all we really know.
Speaker 1 (09:19):
But I think what they tried to tell us was
that who would you prefer to have heaving on you? Like,
we got to see heaving on Margot Robbie while she's
watching two people have sex, and then like, I think
that's a setup to allow us to look at the
sex that she first has with her husband, And you know,
we got to see her in two very uncomfortable sexual
(09:40):
situations that made me think she felt more comfortable with
toothless Heathcliff over the marital you know sex.
Speaker 2 (09:48):
Yeah, you know what I mean, Like, yeah, definitely, definitely.
Speaker 1 (09:51):
There's a lot of things set up in this movie
to make us go okay, Like they don't skip any
beats to help explain to us how we're supposed to
feel about these characters. Very drawn on the wall.
Speaker 2 (10:01):
It's put out there a couple of other cast members
wanted to mention just quickly. Hong Chow, who I love.
She was in the Menu, which was brilliant, and she
was in The Whale as well. The Whale wasn't on
the menu, but they came out. They came out in
the same year. And Martin Klunes I mentioned, was fabulous.
Great to see him just doing a really strong character
(10:22):
supporting part. And Alison Oliver who played Isabella, who I
don't know particularly well, and I'm sure I've seen her
in things because that's how actors are, but she got
most of the laughs in the cinema and her character
was quite funny. And the relationship that she has with
Heathcliff is I don't know, it's kind of interesting and
a bit out there and a bit crazy. But I
kind of liked that part of the film. But again,
(10:43):
timelines were weird in that part as well, but they
are all. They are all great. The question about this film, though,
I've got to ask you, and it's what I what
I didn't get from this film, but I feel the
rest of the cinema did. But was this a romantic
film for you?
Speaker 1 (10:56):
No, it's an anti romantic film.
Speaker 2 (10:59):
The women in the cine I definitely found it romantic.
They were definitely swooning over Heathcliff and they definitely found
that relationship attractive or aspirational. I don't know, but yeah,
it's definitely was a sense from everyone but me that
it was actually incredibly romantic. Like fellows, you may not
want to may enjoy that much, but your partner's going
to enjoy it, and it might be a successful night
(11:20):
for you. That's all I'm saying.
Speaker 1 (11:21):
Just long, I think it will be for a lot
of people because it is porn.
Speaker 2 (11:25):
This is like a period romance. It's heavy, hot, heaving
and heavy.
Speaker 1 (11:28):
Yeah, I think people these days, and I'm going to
say people, but I mainly mean women. I think that
sex has always been complicated, Like we're going pretty deep,
but I think sex and your choices of what sex
you're into and the sex that you have. You know,
we've never been very clear or allowed to talk about
it in a way, and so I think people are
(11:49):
craving watching sex on screen. That's kind of dirty and wrong,
do you know what I mean? Like we're sick of
watching the tropes of a normal romance. But like I
think we're sick of that, I think we want to
see the film. I think we want to see bad relationships,
and I think people in real life are having bad relationships.
Speaker 2 (12:05):
It also represents this idea of real love or true
love or sustained long term love, which again isn't represented
with a rom comp, which is they fall in love
at the end basically of a rom comp whereas this
they're just yearning and in love the whole time and
they're physically attracted and then you know, and even that
idea later on, when Heathcliff gets older, he's Catherine says,
(12:26):
you know, you could kill Edgar, and he just says, oh,
if you tell me to do it, I'll go and
do it, which is what he says earlier about killing
her dad. I think when they're still kids. Even yeah,
so he's.
Speaker 1 (12:36):
Always willing to cut a bitch just for her.
Speaker 2 (12:38):
But also that idea that he is kind of will
do what she says until she says no more. But yeah,
so it is a powerful film. But I don't want
to think there's this film as a woman's film or
a ladies film or whatever, just because on the top
I don't think. But my point, the greater point is
just that the women in the cinema definitely will hook
line and sinker on this film all the way through.
(12:59):
I'm sure any men will be too. I just was
more interested in the direction and the landscapes and the
art direction and stuff so and the costumes are fantastic
costumes in.
Speaker 1 (13:08):
This It's a Gothic romance.
Speaker 3 (13:12):
It's intense and romantic and epic and it will destroy you.
But the book, Emily Bronzie seems to pick the things
she wants you to focus on, and she kind of
dies down the volume on plot points that might seem
important to someone else, but she's kind of like, no,
and she'll elaborate on something. And I feel that Emerald's
(13:33):
done a similar thing, and that she's like, here's what
stood out to me and felt potent to me in
this story, and now I'm going to really deep dive
into it.
Speaker 1 (13:42):
I think we need to talk about this though. And
the cinematic history of Wuthering Heights is quite interesting when
you look at the choices that this film has decided
to make, because there has been so many iterations of
this and one of the things that I thought was
really interesting when I was doing some research on this
before Chatting to You Today is the earlier versions, particularly
the classic Hollywood interpretations of this film. They framed the
(14:03):
story as these sweeping tragic romance and they softened the
original novels brutality. You know, they really hooked that down
and they.
Speaker 2 (14:12):
Lean into the romance and lean out of the savagery.
Speaker 1 (14:15):
Yeah, that's right. So then with you know, this character Catherine,
a lot of people when they watched the original versions
they felt sorry for her, the pining, you know, this
poor woman. Where in this Oh, they flipped that on
its head, and so this is a much darker embrace
of the psychological problems I think between these two people
who really could have done with the therapist too very
(14:36):
early on to trauma. I mean, these two kids bonded
over trauma as a child, that's true, and then they
never got over it, and they relived and recreated the
disgustingness that they were brought up in. Had they basically
had some time with a good therapist, for someone to
help them iron out some of the kinks, these two
could have had the most beautiful romance ever. Forget the
(14:58):
fact that they were pretty much brother and sister.
Speaker 2 (15:02):
I really enjoy Heathcliff savagery in this and his brutalism
all the way through. It's just such a And again,
you know, I didn't see or read any of the
Fifty Shades stuff, but I guess it's echoes that in
the modern in modern cinema or modern entertainment. But yeah,
I mean that stuff's really tasty as well. So yeah,
I mean there's some good, really good stuff in this film.
It's just packaged in an interesting way.
Speaker 1 (15:25):
It's very interesting. I felt like a large part of it,
I felt like they were reaching for a bas Lehman
sort of Romeo and Juliet, some you know, classic story
being told with some very now themes, Like yeah, do
you know what I mean? Like they were really trying
to bring Wuthering Heights into today.
Speaker 2 (15:41):
Yeah.
Speaker 1 (15:42):
And I think they did try and reach for that.
Did they ever fully achieve it? Like, are we going
to say that this is ranked as high as a
Romeo and Juliet or bas Lherman Red Curtain trilogy. No,
I don't think they managed to quite grasp the apple,
if that's we talk about it. But they did make
some really good wins. And you mentioned this before, they
(16:03):
did something new to the story, which because I'm not
as familiar with the originals. Please don't come for me
if I get this wrong. But from what I read today,
the character of Nellie Dean being that she was brought
in to be her companion. Yeah, a good way to
describe it. That narrative wasn't in the original versions. So
she's a new addition to the story, right, so I
(16:24):
found because you loved the actress I can't remember her
name on chow, Yeah, amazing, And she's so good in
this film, Like she brought probably my more favorite elements
to this And to hear that that structure and that
narrative that was brought in by this iteration, I thought
was a really good choice because it allowed less Heathcliff
and Catherine on screen, and it gave some further dynamics
(16:46):
between how that relationship toxified exactly.
Speaker 2 (16:50):
I mean it is kind of a film about survival
in some ways, isn't it. Yeah, survival and protecting oneself
from the elements, from the pressures from you know, socially
and economically. So yeah, and hon jowl. I mean that
whole story arc is really good because she's just protecting herself,
She's just looking after herself. After a certain point.
Speaker 1 (17:09):
It's okay that she wants to, you know, say to Catherine,
fuck and care as long as I get to live
here in the palace or read my book in the dark.
What was with the reading of the books in the dark?
Like it would have been great if you know, she'd
been writing a book on their story or something, you
know what I mean, Like, that's why I've been doing
to fill in her time.
Speaker 2 (17:27):
This isn't a direct adaptation of the book as such,
as more of a adaptation of the history of the
book and films and TV mini seriess that are combined.
So there are a few other points in the book
that are a bit different with.
Speaker 1 (17:39):
This book the original book. This twenty twenty six adaptation
only tells the first half of the book. Ah, so
you know, without because I know everyone knows the story,
but I know we've done a few spoilers, but without
really without really explaining where this film decides to stop.
There is a whole other second half of this which
is wow, completely cut out, Like you know, maybe they're
(18:00):
thinking of making a sequel.
Speaker 2 (18:02):
Is there a sequel coming?
Speaker 1 (18:03):
Well, there's a second generation, all right, and you know
Heathcliff decides to manipulate the second generation kind of like
a little overlord, a bit of a god, and sets
them up to repeat history. And so when you read
the original book, you know we only getting this story
up to halfway, because then it kicks into this second
(18:23):
half of the next generation.
Speaker 2 (18:25):
And then there's a third part, which is the Fellowship
of the Heights where they get to Mordor. I don't know,
but is that.
Speaker 1 (18:32):
Where jacober Laudia is like Marco Robbie's vagina. My pressure, How.
Speaker 2 (18:39):
Funny is that book that she gets with all the
pop ups and stuff, the mushroom and the rose.
Speaker 1 (18:43):
That was genius.
Speaker 2 (18:44):
That was so funny.
Speaker 1 (18:46):
No one's ever thought of doing that scene in any
other iteration. Wuthering Heights.
Speaker 2 (18:51):
You need to hemmel the Emerald. Sorry, I can't even
say name what's happening.
Speaker 1 (18:58):
I was like straight away thinking that rose in the
middle of the book. There is definitely supposed to be
a vagina, like a surpristeen one. But I can tell
you I was onto that one.
Speaker 2 (19:07):
I was surprised they didn't do like a popcorn cup
or something that had that on top.
Speaker 1 (19:12):
The people enjoyed that. The only man in the cinema
eating popcorn out of the vision. I like, so we
want to talk about the score, and we want to
talk about the selection of modern music for this, because
I think that they wove all of that together and
the music did sit very well with the tone of
what they were trying to do with this story, with
(19:33):
the over the top costumes, the big sets, everything. I
think that that was fine. Did you would you have
preferred more of the time type music to suit the
themes or did you think giving it an MTV pop
music element at times worked? I want to know how
you felt with that.
Speaker 2 (19:48):
Well, the pop music thing, I didn't find that in congruous.
I love the score. The score is big again, like
the film is. It's big, it's arrogant, it's bombastic without
being this kind of stuff we get in a Marvel film.
Feels more like an orchestra. It feels like there's still
melody in there, but it's still very arrogant, over the top.
And I love that stuff. I think that's fantastic. The
music didn't bother me too much. The use of the
Irish folk music I found that just jumped at me occasionally.
(20:11):
That might just be a personal thing, And yeah, the
pop music used. The pop music was seamless. To me.
I didn't and I don't think I would have wanted anymore.
I don't think I wanted it over the top. I
don't think I would have wanted bas Lehmann style soundtrack
selling pop tunes all the way through. But I thought
the music was really well handled and really well balanced overall.
Speaker 1 (20:29):
I just thought, like Charlie XCX wrote three of her
songs in the film, and they do compliment the story
very well. I'm going to say that. But I also
thought those songs really elevated the melodrama of this, do
you know what I mean? It didn't make you, it complimented.
Remember she walked in wearing some red cape and it
(20:49):
could have been just a red riding hood red cape,
but it was given this sort of crimson glow, this
of metallic over the top, like you've just gone down
to Rose Jong Rose Chong, you know what I mean.
Like it looked like it had been worn a thousand
times by people to costume parties, and that's sort of
over the top. Choices fitted well, I think with the
style of music, and it brings me to a point
(21:10):
which I still can't quite get to the bottom of
no Oscar nominations for this film.
Speaker 2 (21:15):
Yeah, that's what I was wondering while I was watching it,
was did it miss the window? And I would have
given it at least the Best Picture because there's ten
Best Picture nods. Now, yeah, I'm surprised that it didn't
get and Saltburn was represented, and so I was promising
Young Woman though represented at the Oscars, so it would
have been nice. I think it deserves to be in.
At least it's better than F one. Surely.
Speaker 1 (21:34):
The thing I can think of is that this movie,
in some ways, and we'll get to our scores and
our rankings of this film does feel like this huge
jigsaw puzzle that someone got really frustrated with and just
started banging the pieces in together.
Speaker 2 (21:47):
Is there a six hour cut of this film somewhere?
Speaker 1 (21:49):
I reckon there would be. I reckon there would be,
and I'm glad I didn't see it. I think I'm
happy to watch version. Yeah. I guess it's probably better
to I always first, So I'm going to jump in
because I don't know your score for.
Speaker 2 (22:03):
The first time. And I was thinking about this quite
a bit since I saw the film. I think I
have to give it two scores. I think ultimately, if
you want to see a big, arrogant, romantic period piece,
this is the perfect film if you want that. You know,
the eyes wide shut, not eyes wide shut, well we
can say that as well. If you want that fifty
shades of gray, eyes wide shut, kind of but period,
(22:25):
kind of tense, modern but thing, and you know, with
elements of erotica through it. This is a four out
of five film. This is the perfect kind of film
to see for that stuff. For me, it's a three.
I do want to watch it again. It's not something
I'm going to race out and see. I probably wouldn't
have seen it at the cinema. Every ween't discussing it here,
but that's me, you know, mid forties, white bald male.
(22:46):
I don't know what the hair has to do with it.
But like for the audience of this film, they're gonna
love it, and they're gonna see it multiple times. This
is a four star film, I think for them.
Speaker 1 (22:54):
I've never heard anyone describe a movie the same way
that I felt like I was going to describe a
movie in my life, and that is exactly how I feel.
I don't know whether to give this movie two stars,
and I don't know whether or not to give it
four stars. Yeah, so I'm actually going to give it
two and a half stars. And the reason why I'm
being a little bit cruel with this is that I
think it's an amazing film in lots of ways, and
(23:16):
it really reaches to be that. But I just don't
know if it all comes together. And I certainly don't
think people will be talking about this iteration of this
film in years to come. This is not a classic,
you know what I mean? Like you are not going
to be like, hey, you know Christmas Dinner, we finished
that early. We need to sit around with a film
to watch a movie, do you know what I mean?
Speaker 2 (23:33):
Like, it's not h Yeah, it is interesting too, because
like The Great Gatsby is one of my favorite books.
I read that in high school and I've reread it
every couple of years. I reread that, and when the
Great Gatsby film come out more recently, it's like, yeah,
this is probably the best adaptation of that book. And
that's the version of the film I go back to. Whereas, yeah,
you're right with Wuthering Heights. That's an interesting question for
anyone out there. That's read the book or has watched
(23:55):
all the versions of it. I'd love to know where
this fits for them, because there are some very good
things about this film, and I know people that will
like this more than say the nineteen thirty nine version,
just because it's in color. Timmy the Dalton has played Heathcliff,
and Ray Fines has played Heathcliff, like a lot of
great actors have played Who.
Speaker 1 (24:10):
Was that really old actor that we saw you but
there was on you can watch it on SBS. At
the moment, there's like.
Speaker 2 (24:14):
A it's their nine version and Lawrence Olivier sor it's
Laura Barence Olivia.
Speaker 1 (24:19):
That's that's who you were mentioning when we were talking.
Speaker 2 (24:21):
Yeah yeah the other day. Yeah yeah, Lawrence Olivier played
him in the original version. Like that's amazing. He was
Hamlet and Heathcliff within a couple of years.
Speaker 1 (24:29):
Well, I can tell you if you're struggling to do
something this weekend, go along and see this movie. I think,
go in with less expectation, less knowledge about their choices,
and just go on the twists and turns, because overall
this movie is very much a rollercoaster. If you're flying
in blind You're like, Wow, I didn't think I was
going to go there. Thought I was going to spew
over here and you know what I mean, like and
(24:49):
here we are. But Margot Robbie said it best and
when promoting this film, she said, the choices that we
made was so that the audience would feel as though
they were continuously punched the stomach. And that is exactly
Margo Robbie how we felt.
Speaker 3 (25:06):
But I think what we were going for was that
big feeling like I feel like you've been punched in
the guts and put it but you want it again.
Speaker 2 (25:17):
No, that's great.
Speaker 1 (25:18):
Not one of a better review had I ever heard
oneself than Margo Robbie with we want everyone to be
punched in the stomach.
Speaker 2 (25:25):
That's right, Ben saying this Valentine's Day, punch yourselves in
the stomach and go and see outhering heights.
Speaker 1 (25:34):
This is being dropped for Valentine's Day, so it's perfect.
I think it's great. I think Valentine's are going to
have some sex after this.
Speaker 2 (25:40):
This is Oh yeah, it's a sexy film.
Speaker 1 (25:42):
Full play. Yeah. Well, before we finish, we need to
talk about what we're doing next week. Now, Bros. What
was the name of the movie that we had as
a choice to watch and next.
Speaker 2 (25:51):
Week Sinners, which has got broken the record, is at
fourteen Oscar nominations for the Oscars this year, broken the
record for the most nominations, partly because they introduce the
casting category and they get one up on everybody else.
But it's a genre film, a horror film. But it's
the same director as Black Panther. Film's amazing music as well,
So we're going to chat about I'm confident it will
(26:14):
well neither be the Best Picture or Best Director or
possibly both. So yeah, we're going to have a look
at that one next week.
Speaker 1 (26:19):
Amazing Well, I can't wait to relook at that film.
And the reason why we're choosing that is because next
week there was nothing really at the cinemas. The bros
And I felt like we wanted to review. Sorry to
the distributor, but a special shout out to Warner Brothers
for sending us along both of us in two separate
states to attend Wuthering Heights. If you're not doing anything
(26:39):
this weekend, torment the shit out of yourselves, Buy solves
a ticket and in the stomach, pint yourself in the stomach.
Take along someone that you want to have some hate
sex with, whether it's your partner, someone you would like
to have a relationship with, I don't know, but go
and check it out. Wathering Heights is nothing short of
can you finish that sentence? It's no otacular, spectacular spectacular, Okay,
(27:03):
right anyway,
It's in the news today, but it was actually on
TV Reload the podcast last week that Hey, everyone, welcome
back to TV Reload. My name is Benjamin Norris, and
once again I'm joined by my movie review sparring partner bros.
Speaker 2 (00:12):
Ard barring partners better than partner in crime.
Speaker 1 (00:14):
I like that, that's kind of I was trying to
play on that, but also I was going to say
the potential inspiration for Kate Bush's original song Wuthering Height.
Speaker 2 (00:23):
Yes, indeed me just me, you're saying, or just.
Speaker 1 (00:28):
How old were you when that song came out?
Speaker 2 (00:29):
Well, year did it come out?
Speaker 1 (00:30):
I was probably three or something, nineteen seventy eight.
Speaker 2 (00:33):
Oh I was born No, no, no, it wasn't even on.
That wasn't even registering. I do think Wuthering Heights by
Kate Bush, and with the resurgence of the Muppets, that
there should have been some kind of Muppets Wuthering Heights crossover.
Miss Piggey doing Weathering Okay, and then I'll let the
Muppets then go every week.
Speaker 1 (00:49):
It's in your contract. Please don't bad.
Speaker 2 (00:53):
How good would that be?
Speaker 1 (00:54):
Anyway?
Speaker 2 (00:54):
It doesn't matter. Yeah, Wathering Heights, wasn't that a lot
of fun, Ben, you want to tell us what it's
all about.
Speaker 1 (00:58):
It is a sweet, tortured, deeply chaotic love story featuring
two of the most genetically blessed humans on the planet,
Margo Robbie and Jacob ELORDI would you say it's a comedy,
it's a romance.
Speaker 2 (01:13):
It's definitely like an epic romantic period piece.
Speaker 1 (01:16):
Before we unpack it, let's set the tone with a
quick thirty second promo? How do you fit this movie
into a promo? This way? Listen?
Speaker 2 (01:29):
He loved me?
Speaker 1 (01:31):
You loved me?
Speaker 2 (01:33):
Then what right did you leave me? Tita?
Speaker 1 (01:38):
You'll be sure your own heart and in breaking it,
you've broken mine.
Speaker 2 (01:44):
Tight up, Nellie, but you'll not breathe.
Speaker 1 (01:48):
Tight up TuS, Tita.
Speaker 2 (01:54):
Oh man, how was this film for you? Ben? You said?
Now you tell me what you told me a little
after you when you walked out last night? What was that?
Speaker 1 (02:00):
The one thing I said was everyone loves a whiff
of perfume, but they wouldn't drink the bottle. Well that's
where it sat when I came out of the film.
Speaker 2 (02:09):
Yeah, it's isn't it a hell of a film. I
didn't expect to enjoy it at all and I think
I enjoyed it. I you know, it trucked along at
a good pace, and the performances are good and the
direction's fantastic. Emerald Fanel wrote the script and directed, and
she did a great job. She's a great director. Salt
Burn was her last effort and.
Speaker 1 (02:26):
Then Promising Woman.
Speaker 2 (02:28):
Remember that Missing Young Woman? Did you watch a Lot?
Speaker 3 (02:31):
Yeah?
Speaker 2 (02:31):
I love that film wlthough. That was very good. So yeah,
all that stuff's really good. But it's a lot though.
Speaker 1 (02:36):
This is the summarizes this film. This one particular character dies.
I don't want to give that away now, characterize it's
from drinking. And in the background you see not just
the bottles. Yeah, but it was not like thirty bottles.
There was like thousands of bottles stacked up like a
perfect Christmas tree at Christmas time. Everything that this movie does,
it's like just times it by a million. I feel
(02:59):
like the creative people sitting around they're like, you know,
we could have a couple of bottles next to the
dead body, or we could have mounds of gin bottles
that are all the same gin bottle, all the same color,
neatly stacked up behind. You know, no subtlety has ever
been thought of in this movie.
Speaker 2 (03:14):
The one big issue I had with this film, and
I'm going to bring it out early, is I think
the timelines were all stuffed up. I never got a
real sense of how time was passing and how much
time was passing. So at one point, she hadn't visited
her dad in a couple of years or a few
years or whatever, and we've just seen her get married,
like we didn't even know what stretch of time had
happened before she went back. And then we get the
(03:35):
reappearance of Heatcliff, and that's five years or almost five
years apparently. But again there's no sense because Mugot Robbie
doesn't change. Really, she doesn't look any different in any
scene the disappearing reappearing freckle. Did you notice that at
one point heat Cliff licks the freckle on the wall, Well,
then licks the one on her face. Yeah, would be
better if it was a nipple on the wall. I
(03:57):
suppose instead of.
Speaker 1 (03:57):
Them too far, you were on the money with these timelines,
because there's also this point where she's like spoiler alert.
Speaker 2 (04:04):
Spoiler alert for a film that was first or a
book that was first adapted in nineteen thirty nine.
Speaker 1 (04:09):
Even the part where she is then with child. Yeah,
we get a good chunk of the movie and montages
of enormous amounts of sex with Margot, Robbie and Jacob
Alordie like a LORDI.
Speaker 2 (04:21):
A LORDI lou.
Speaker 1 (04:22):
We got some sex for Jacob a Lordie. But then
all of a sudden, it was like, how long has
she been keeping theircret? You know, like, don't mean to
be crass. He's been down on her, He's been up
on her, she's been down on I don't know, he's
been behind in front exactly. I mean there's people out
there learning and probably with a notepad writing down it's
not what they can do with their loved one. But
(04:42):
we saw so much of that.
Speaker 2 (04:44):
Yeah, and it felt like.
Speaker 1 (04:45):
That part was telling a story of like two to
five years.
Speaker 2 (04:49):
Yeah. Usually a montage is a longer period of time,
and obviously were then rushing through it. But maybe each
cut in that montage was just one day. I don't know,
and it was just very vague. Yeah, I mean, it's
a mine quibble, but it's one that bugged me. I
will say it was a majority of female audience. Oh,
I might have been the only male in there, but
they mightn't want to others it was hard to tell.
And they loved it like spectacularly. And I know I
(05:12):
was in a cinema full of people that will go
and see the second time, so it definitely appeals to
that audience. I probably will watch it again too, when
it comes out on streaming or something too. It is
a beautiful looking film, and it's big and it's you know, bombastic.
So Margo, Robbie and Jacob E LORDI, let's drill down
on them. Got to ask you a question. Is Jacob
ELORDI hot?
Speaker 1 (05:33):
I can only see a high school private school boy
that he is equally lusted and loathed by the entire
year level from school. Do you know what I mean?
Speaker 2 (05:43):
Yeah, I know what you're saying.
Speaker 1 (05:44):
There were scenes in the movie where he just looked
like some He didn't even look like he was trying
that much. He was like, I'm just being an arrogant
football player, and like, okay, I'm gonna say yes, I'm
going to say he is an attractive person because I
thought he was attractive in Saltburn and everything else. Do
you know what I mean? I just think in this
role he is filthy he looks like passions of the
(06:08):
Christ Jesus for a good part of the movie with
a missing tooth. Well then, which brings me to another point.
What was worse no tooth Jacob Elordi.
Speaker 2 (06:17):
Or gold toothoth? The problem with the no tooth thing
is constantly when he's on screen, I'm like, it's just
blacked out, isn't it. They haven't even c gi'ed or anything.
It's just literally they've blacked out the tooth with some
texter or something. And then the gold tooth is like,
I don't know if that to be any more comfortable
for the actor or it was very distracting the tooth thing.
Speaker 1 (06:36):
The tooth was weird. It was a weird choice. Like
sometimes when you think about Nicole Kippen's nose in The Hours,
was it needed? Did you need the nose? Did you
need the missing tooth?
Speaker 2 (06:45):
Did you an oscar oscar Win?
Speaker 1 (06:46):
He knows that knows those And it's.
Speaker 2 (06:49):
Weird, isn't it? Because he went from being Frankenstein's monster
to Bronte's monster kind of in two films as well,
because obviously Gelmel del Toro's Frankenstein he was in as well.
But yeah, I Look, I think he's hot because Heythcliffe
is hot in this film. Like you know, he is
a rugged manly, he's doing physical things. His accent is
really good in this Jacob Alordie that is so Yeah. Look,
(07:12):
ultimately I guess he's hot in this film. For me overall,
I've got to take it film by film. With Jacob Elodie,
I don't know if he's a hot actor yet or not.
But we'll see, We'll see. It doesn't get better.
Speaker 1 (07:22):
He's also a very very very very very good actor.
Speaker 3 (07:25):
And he does the Heathcliff that line between being so
in love and generous with that emotion, but then also
very very very cruel. It's also hard to know what
he's thinking sort of thing.
Speaker 1 (07:37):
Whereas Kathy.
Speaker 3 (07:38):
You know what Kathy's thinking at any given moment, she
wears it on her face and she says it. But
with Heathcliff, he kind of doesn't.
Speaker 2 (07:46):
But yeah, Margo Robbie, I think Margo Robbie does a
good job, but I don't think at the time she
has enough to do either. How much does it feel
like her life when she marries Edgar is just her
being Barbie again?
Speaker 1 (07:56):
I know? And it was hard to skip away from that,
do you know I kept coming back to Barbie. The
other thing that I thought was wild with this movie,
especially because of how many iterations there's been and how
many choices there's been with that character. She was very unlikable,
like she was really Braddy. You know. Yeah, I think
(08:17):
overall it's a mixed performance. I don't think it's as
consistent as it should have been. But she was very
daring in the spaces and places that she took her
character portrayal of. Did you sympathize with Catherine with Marco
Robbie's portrayal of her, or did you feel like I did,
completely fucking exhausted.
Speaker 2 (08:37):
Well, the thing is, do I really empathized with Edgar
as well? Yeah? I felt really bad for Edgar because
he didn't do anything wrong, like he did everything she
wanted him to do.
Speaker 1 (08:46):
Edk you really do feel for but you know, gross
and balls, mate, I mean, are we supposed to believe
that he puts up with this British behavior from her
just because she's beautiful? Like?
Speaker 2 (08:55):
Yeah, I guess there's a parallel too, because you know,
there's the storyline that Haycliff is Kathy's pet and then
later on, Kathy kind of becomes Edgar's doll.
Speaker 1 (09:05):
I suppose, yeah.
Speaker 2 (09:07):
In the big pink doll house and the floral swing outside, etcetera, etcetera.
So yeah, you're right, I guess that's a parallel. And yeah,
you don't really ever get a sense of who Edgar
is anyway or what he does is in textiles as
all we really know.
Speaker 1 (09:19):
But I think what they tried to tell us was
that who would you prefer to have heaving on you? Like,
we got to see heaving on Margot Robbie while she's
watching two people have sex, and then like, I think
that's a setup to allow us to look at the
sex that she first has with her husband, And you know,
we got to see her in two very uncomfortable sexual
(09:40):
situations that made me think she felt more comfortable with
toothless Heathcliff over the marital you know sex.
Speaker 2 (09:48):
Yeah, you know what I mean, Like, yeah, definitely, definitely.
Speaker 1 (09:51):
There's a lot of things set up in this movie
to make us go okay, Like they don't skip any
beats to help explain to us how we're supposed to
feel about these characters. Very drawn on the wall.
Speaker 2 (10:01):
It's put out there a couple of other cast members
wanted to mention just quickly. Hong Chow, who I love.
She was in the Menu, which was brilliant, and she
was in The Whale as well. The Whale wasn't on
the menu, but they came out. They came out in
the same year. And Martin Klunes I mentioned, was fabulous.
Great to see him just doing a really strong character
(10:22):
supporting part. And Alison Oliver who played Isabella, who I
don't know particularly well, and I'm sure I've seen her
in things because that's how actors are, but she got
most of the laughs in the cinema and her character
was quite funny. And the relationship that she has with
Heathcliff is I don't know, it's kind of interesting and
a bit out there and a bit crazy. But I
kind of liked that part of the film. But again,
(10:43):
timelines were weird in that part as well, but they
are all. They are all great. The question about this film, though,
I've got to ask you, and it's what I what
I didn't get from this film, but I feel the
rest of the cinema did. But was this a romantic
film for you?
Speaker 1 (10:56):
No, it's an anti romantic film.
Speaker 2 (10:59):
The women in the cine I definitely found it romantic.
They were definitely swooning over Heathcliff and they definitely found
that relationship attractive or aspirational. I don't know, but yeah,
it's definitely was a sense from everyone but me that
it was actually incredibly romantic. Like fellows, you may not
want to may enjoy that much, but your partner's going
to enjoy it, and it might be a successful night
(11:20):
for you. That's all I'm saying.
Speaker 1 (11:21):
Just long, I think it will be for a lot
of people because it is porn.
Speaker 2 (11:25):
This is like a period romance. It's heavy, hot, heaving
and heavy.
Speaker 1 (11:28):
Yeah, I think people these days, and I'm going to
say people, but I mainly mean women. I think that
sex has always been complicated, Like we're going pretty deep,
but I think sex and your choices of what sex
you're into and the sex that you have. You know,
we've never been very clear or allowed to talk about
it in a way, and so I think people are
(11:49):
craving watching sex on screen. That's kind of dirty and wrong,
do you know what I mean? Like we're sick of
watching the tropes of a normal romance. But like I
think we're sick of that, I think we want to
see the film. I think we want to see bad relationships,
and I think people in real life are having bad relationships.
Speaker 2 (12:05):
It also represents this idea of real love or true
love or sustained long term love, which again isn't represented
with a rom comp, which is they fall in love
at the end basically of a rom comp whereas this
they're just yearning and in love the whole time and
they're physically attracted and then you know, and even that
idea later on, when Heathcliff gets older, he's Catherine says,
(12:26):
you know, you could kill Edgar, and he just says, oh,
if you tell me to do it, I'll go and
do it, which is what he says earlier about killing
her dad. I think when they're still kids. Even yeah,
so he's.
Speaker 1 (12:36):
Always willing to cut a bitch just for her.
Speaker 2 (12:38):
But also that idea that he is kind of will
do what she says until she says no more. But yeah,
so it is a powerful film. But I don't want
to think there's this film as a woman's film or
a ladies film or whatever, just because on the top
I don't think. But my point, the greater point is
just that the women in the cinema definitely will hook
line and sinker on this film all the way through.
(12:59):
I'm sure any men will be too. I just was
more interested in the direction and the landscapes and the
art direction and stuff so and the costumes are fantastic
costumes in.
Speaker 1 (13:08):
This It's a Gothic romance.
Speaker 3 (13:12):
It's intense and romantic and epic and it will destroy you.
But the book, Emily Bronzie seems to pick the things
she wants you to focus on, and she kind of
dies down the volume on plot points that might seem
important to someone else, but she's kind of like, no,
and she'll elaborate on something. And I feel that Emerald's
(13:33):
done a similar thing, and that she's like, here's what
stood out to me and felt potent to me in
this story, and now I'm going to really deep dive
into it.
Speaker 1 (13:42):
I think we need to talk about this though. And
the cinematic history of Wuthering Heights is quite interesting when
you look at the choices that this film has decided
to make, because there has been so many iterations of
this and one of the things that I thought was
really interesting when I was doing some research on this
before Chatting to You Today is the earlier versions, particularly
the classic Hollywood interpretations of this film. They framed the
(14:03):
story as these sweeping tragic romance and they softened the
original novels brutality. You know, they really hooked that down
and they.
Speaker 2 (14:12):
Lean into the romance and lean out of the savagery.
Speaker 1 (14:15):
Yeah, that's right. So then with you know, this character Catherine,
a lot of people when they watched the original versions
they felt sorry for her, the pining, you know, this
poor woman. Where in this Oh, they flipped that on
its head, and so this is a much darker embrace
of the psychological problems I think between these two people
who really could have done with the therapist too very
(14:36):
early on to trauma. I mean, these two kids bonded
over trauma as a child, that's true, and then they
never got over it, and they relived and recreated the
disgustingness that they were brought up in. Had they basically
had some time with a good therapist, for someone to
help them iron out some of the kinks, these two
could have had the most beautiful romance ever. Forget the
(14:58):
fact that they were pretty much brother and sister.
Speaker 2 (15:02):
I really enjoy Heathcliff savagery in this and his brutalism
all the way through. It's just such a And again,
you know, I didn't see or read any of the
Fifty Shades stuff, but I guess it's echoes that in
the modern in modern cinema or modern entertainment. But yeah,
I mean that stuff's really tasty as well. So yeah,
I mean there's some good, really good stuff in this film.
It's just packaged in an interesting way.
Speaker 1 (15:25):
It's very interesting. I felt like a large part of it,
I felt like they were reaching for a bas Lehman
sort of Romeo and Juliet, some you know, classic story
being told with some very now themes, Like yeah, do
you know what I mean? Like they were really trying
to bring Wuthering Heights into today.
Speaker 2 (15:41):
Yeah.
Speaker 1 (15:42):
And I think they did try and reach for that.
Did they ever fully achieve it? Like, are we going
to say that this is ranked as high as a
Romeo and Juliet or bas Lherman Red Curtain trilogy. No,
I don't think they managed to quite grasp the apple,
if that's we talk about it. But they did make
some really good wins. And you mentioned this before, they
(16:03):
did something new to the story, which because I'm not
as familiar with the originals. Please don't come for me
if I get this wrong. But from what I read today,
the character of Nellie Dean being that she was brought
in to be her companion. Yeah, a good way to
describe it. That narrative wasn't in the original versions. So
she's a new addition to the story, right, so I
(16:24):
found because you loved the actress I can't remember her
name on chow, Yeah, amazing, And she's so good in
this film, Like she brought probably my more favorite elements
to this And to hear that that structure and that
narrative that was brought in by this iteration, I thought
was a really good choice because it allowed less Heathcliff
and Catherine on screen, and it gave some further dynamics
(16:46):
between how that relationship toxified exactly.
Speaker 2 (16:50):
I mean it is kind of a film about survival
in some ways, isn't it. Yeah, survival and protecting oneself
from the elements, from the pressures from you know, socially
and economically. So yeah, and hon jowl. I mean that
whole story arc is really good because she's just protecting herself,
She's just looking after herself. After a certain point.
Speaker 1 (17:09):
It's okay that she wants to, you know, say to Catherine,
fuck and care as long as I get to live
here in the palace or read my book in the dark.
What was with the reading of the books in the dark?
Like it would have been great if you know, she'd
been writing a book on their story or something, you
know what I mean, Like, that's why I've been doing
to fill in her time.
Speaker 2 (17:27):
This isn't a direct adaptation of the book as such,
as more of a adaptation of the history of the
book and films and TV mini seriess that are combined.
So there are a few other points in the book
that are a bit different with.
Speaker 1 (17:39):
This book the original book. This twenty twenty six adaptation
only tells the first half of the book. Ah, so
you know, without because I know everyone knows the story,
but I know we've done a few spoilers, but without
really without really explaining where this film decides to stop.
There is a whole other second half of this which
is wow, completely cut out, Like you know, maybe they're
(18:00):
thinking of making a sequel.
Speaker 2 (18:02):
Is there a sequel coming?
Speaker 1 (18:03):
Well, there's a second generation, all right, and you know
Heathcliff decides to manipulate the second generation kind of like
a little overlord, a bit of a god, and sets
them up to repeat history. And so when you read
the original book, you know we only getting this story
up to halfway, because then it kicks into this second
(18:23):
half of the next generation.
Speaker 2 (18:25):
And then there's a third part, which is the Fellowship
of the Heights where they get to Mordor. I don't know,
but is that.
Speaker 1 (18:32):
Where jacober Laudia is like Marco Robbie's vagina. My pressure, How.
Speaker 2 (18:39):
Funny is that book that she gets with all the
pop ups and stuff, the mushroom and the rose.
Speaker 1 (18:43):
That was genius.
Speaker 2 (18:44):
That was so funny.
Speaker 1 (18:46):
No one's ever thought of doing that scene in any
other iteration. Wuthering Heights.
Speaker 2 (18:51):
You need to hemmel the Emerald. Sorry, I can't even
say name what's happening.
Speaker 1 (18:58):
I was like straight away thinking that rose in the
middle of the book. There is definitely supposed to be
a vagina, like a surpristeen one. But I can tell
you I was onto that one.
Speaker 2 (19:07):
I was surprised they didn't do like a popcorn cup
or something that had that on top.
Speaker 1 (19:12):
The people enjoyed that. The only man in the cinema
eating popcorn out of the vision. I like, so we
want to talk about the score, and we want to
talk about the selection of modern music for this, because
I think that they wove all of that together and
the music did sit very well with the tone of
what they were trying to do with this story, with
(19:33):
the over the top costumes, the big sets, everything. I
think that that was fine. Did you would you have
preferred more of the time type music to suit the
themes or did you think giving it an MTV pop
music element at times worked? I want to know how
you felt with that.
Speaker 2 (19:48):
Well, the pop music thing, I didn't find that in congruous.
I love the score. The score is big again, like
the film is. It's big, it's arrogant, it's bombastic without
being this kind of stuff we get in a Marvel film.
Feels more like an orchestra. It feels like there's still
melody in there, but it's still very arrogant, over the top.
And I love that stuff. I think that's fantastic. The
music didn't bother me too much. The use of the
Irish folk music I found that just jumped at me occasionally.
(20:11):
That might just be a personal thing, And yeah, the
pop music used. The pop music was seamless. To me.
I didn't and I don't think I would have wanted anymore.
I don't think I wanted it over the top. I
don't think I would have wanted bas Lehmann style soundtrack
selling pop tunes all the way through. But I thought
the music was really well handled and really well balanced overall.
Speaker 1 (20:29):
I just thought, like Charlie XCX wrote three of her
songs in the film, and they do compliment the story
very well. I'm going to say that. But I also
thought those songs really elevated the melodrama of this, do
you know what I mean? It didn't make you, it complimented.
Remember she walked in wearing some red cape and it
(20:49):
could have been just a red riding hood red cape,
but it was given this sort of crimson glow, this
of metallic over the top, like you've just gone down
to Rose Jong Rose Chong, you know what I mean.
Like it looked like it had been worn a thousand
times by people to costume parties, and that's sort of
over the top. Choices fitted well, I think with the
style of music, and it brings me to a point
(21:10):
which I still can't quite get to the bottom of
no Oscar nominations for this film.
Speaker 2 (21:15):
Yeah, that's what I was wondering while I was watching it,
was did it miss the window? And I would have
given it at least the Best Picture because there's ten
Best Picture nods. Now, yeah, I'm surprised that it didn't
get and Saltburn was represented, and so I was promising
Young Woman though represented at the Oscars, so it would
have been nice. I think it deserves to be in.
At least it's better than F one. Surely.
Speaker 1 (21:34):
The thing I can think of is that this movie,
in some ways, and we'll get to our scores and
our rankings of this film does feel like this huge
jigsaw puzzle that someone got really frustrated with and just
started banging the pieces in together.
Speaker 2 (21:47):
Is there a six hour cut of this film somewhere?
Speaker 1 (21:49):
I reckon there would be. I reckon there would be,
and I'm glad I didn't see it. I think I'm
happy to watch version. Yeah. I guess it's probably better
to I always first, So I'm going to jump in
because I don't know your score for.
Speaker 2 (22:03):
The first time. And I was thinking about this quite
a bit since I saw the film. I think I
have to give it two scores. I think ultimately, if
you want to see a big, arrogant, romantic period piece,
this is the perfect film if you want that. You know,
the eyes wide shut, not eyes wide shut, well we
can say that as well. If you want that fifty
shades of gray, eyes wide shut, kind of but period,
(22:25):
kind of tense, modern but thing, and you know, with
elements of erotica through it. This is a four out
of five film. This is the perfect kind of film
to see for that stuff. For me, it's a three.
I do want to watch it again. It's not something
I'm going to race out and see. I probably wouldn't
have seen it at the cinema. Every ween't discussing it here,
but that's me, you know, mid forties, white bald male.
(22:46):
I don't know what the hair has to do with it.
But like for the audience of this film, they're gonna
love it, and they're gonna see it multiple times. This
is a four star film, I think for them.
Speaker 1 (22:54):
I've never heard anyone describe a movie the same way
that I felt like I was going to describe a
movie in my life, and that is exactly how I feel.
I don't know whether to give this movie two stars,
and I don't know whether or not to give it
four stars. Yeah, so I'm actually going to give it
two and a half stars. And the reason why I'm
being a little bit cruel with this is that I
think it's an amazing film in lots of ways, and
(23:16):
it really reaches to be that. But I just don't
know if it all comes together. And I certainly don't
think people will be talking about this iteration of this
film in years to come. This is not a classic,
you know what I mean? Like you are not going
to be like, hey, you know Christmas Dinner, we finished
that early. We need to sit around with a film
to watch a movie, do you know what I mean?
Speaker 2 (23:33):
Like, it's not h Yeah, it is interesting too, because
like The Great Gatsby is one of my favorite books.
I read that in high school and I've reread it
every couple of years. I reread that, and when the
Great Gatsby film come out more recently, it's like, yeah,
this is probably the best adaptation of that book. And
that's the version of the film I go back to. Whereas, yeah,
you're right with Wuthering Heights. That's an interesting question for
anyone out there. That's read the book or has watched
(23:55):
all the versions of it. I'd love to know where
this fits for them, because there are some very good
things about this film, and I know people that will
like this more than say the nineteen thirty nine version,
just because it's in color. Timmy the Dalton has played Heathcliff,
and Ray Fines has played Heathcliff, like a lot of
great actors have played Who.
Speaker 1 (24:10):
Was that really old actor that we saw you but
there was on you can watch it on SBS. At
the moment, there's like.
Speaker 2 (24:14):
A it's their nine version and Lawrence Olivier sor it's
Laura Barence Olivia.
Speaker 1 (24:19):
That's that's who you were mentioning when we were talking.
Speaker 2 (24:21):
Yeah yeah the other day. Yeah yeah, Lawrence Olivier played
him in the original version. Like that's amazing. He was
Hamlet and Heathcliff within a couple of years.
Speaker 1 (24:29):
Well, I can tell you if you're struggling to do
something this weekend, go along and see this movie. I think,
go in with less expectation, less knowledge about their choices,
and just go on the twists and turns, because overall
this movie is very much a rollercoaster. If you're flying
in blind You're like, Wow, I didn't think I was
going to go there. Thought I was going to spew
over here and you know what I mean, like and
(24:49):
here we are. But Margot Robbie said it best and
when promoting this film, she said, the choices that we
made was so that the audience would feel as though
they were continuously punched the stomach. And that is exactly
Margo Robbie how we felt.
Speaker 3 (25:06):
But I think what we were going for was that
big feeling like I feel like you've been punched in
the guts and put it but you want it again.
Speaker 2 (25:17):
No, that's great.
Speaker 1 (25:18):
Not one of a better review had I ever heard
oneself than Margo Robbie with we want everyone to be
punched in the stomach.
Speaker 2 (25:25):
That's right, Ben saying this Valentine's Day, punch yourselves in
the stomach and go and see outhering heights.
Speaker 1 (25:34):
This is being dropped for Valentine's Day, so it's perfect.
I think it's great. I think Valentine's are going to
have some sex after this.
Speaker 2 (25:40):
This is Oh yeah, it's a sexy film.
Speaker 1 (25:42):
Full play. Yeah. Well, before we finish, we need to
talk about what we're doing next week. Now, Bros. What
was the name of the movie that we had as
a choice to watch and next.
Speaker 2 (25:51):
Week Sinners, which has got broken the record, is at
fourteen Oscar nominations for the Oscars this year, broken the
record for the most nominations, partly because they introduce the
casting category and they get one up on everybody else.
But it's a genre film, a horror film. But it's
the same director as Black Panther. Film's amazing music as well,
So we're going to chat about I'm confident it will
(26:14):
well neither be the Best Picture or Best Director or
possibly both. So yeah, we're going to have a look
at that one next week.
Speaker 1 (26:19):
Amazing Well, I can't wait to relook at that film.
And the reason why we're choosing that is because next
week there was nothing really at the cinemas. The bros
And I felt like we wanted to review. Sorry to
the distributor, but a special shout out to Warner Brothers
for sending us along both of us in two separate
states to attend Wuthering Heights. If you're not doing anything
(26:39):
this weekend, torment the shit out of yourselves, Buy solves
a ticket and in the stomach, pint yourself in the stomach.
Take along someone that you want to have some hate
sex with, whether it's your partner, someone you would like
to have a relationship with, I don't know, but go
and check it out. Wathering Heights is nothing short of
can you finish that sentence? It's no otacular, spectacular spectacular, Okay,
(27:03):
right anyway,
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