WUTHERING HEIGHTS – Review by Susan Granger

There’s a temptation to say: Any resemblance between Emily Bronte’s classic 1847 gothic novel Wuthering Heights and Emerald Fennell’s sensual screen adaptation is purely coincidental…but that’s not exactly accurate since Fennell re-interprets the toxic, tortured love story, focusing on the singularly depraved, destructive relationship. Without revealing salient plot points, Fennell focuses on tumultuous, obsessive lust – choosing overtly erotic style-over-substance – graphically chronicled in VistaVision by cinematographer Linus Sandgren.

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WUTHERING HEIGHTS – Review by T.J. Callahan

Emily Brontë is blushing. That’s not just fog floating off the moors, but tearful sexual tension in Emerald Fennell’s very loosely based and extremely steamy big screen version of the classic novel, Wuthering Heights.Emily Brontë’s 1847 Gothic romance about forbidden love, obsession and revenge was met with harsh criticism for its immoral depiction of passion, but even in today’s less prudish society, no one saw Fennell’s intensely provocative interpretation coming. This Wuthering Heights is a heterosexual Heated Rivalry that takes a Saltburn turn.

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WEEK IN WOMEN: Fennell’s WUTHERING HEIGHTS opens for Valentine’s day – Brandy McDonnell reports

Billed as a bold and original imagining of one of the greatest love stories of all time, Emerald Fennell’s Wuthering Heights stars Margot Robbie as Cathy and Jacob Elordi as Heathcliff, whose forbidden passion for one another turns from romantic to intoxicating in an epic tale of lust, love and madness. Fennell directs from her own screenplay based on the famed 1847 novel by Emily Brontë.

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AWARDS INTELLIGENCER: The Snubs Heard Round the BARBIE Dreamhouse Bubble – Thelma Adams Reports

I empathize with the director’s need to come from her heart. I honor the genuine disappointment that Gerwig and her star Robbie might have experienced after riding their wave of hype and success. Still, let’s insert a little context here. Barbie, despite its eight Oscar nominations for Best Picture, Best Supporting Actor (Ryan Gosling) and Actress (America Ferrara), Best Adapted Screenplay, Best Production Design, Best Costume Design, and two Best Songs, is not your typical Oscar-winner.

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BARBIE – Review by Jennifer Green

Less than a week into its release, Barbie was already well on its way to becoming a social phenomenon. That seems fitting for the source material. Director Greta Gerwig is extremely faithful to Barbie’s style, history and various incarnations, and her team has done a dazzling job of creating a life-size world of Dreamhouses, pink convertibles and candy-colored props. Also like its namesake doll, the movie’s global appeal is reinforced by the simplicity of its messages. There’s nothing subtle about Barbie. We like playing with her without having to think too hard.

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BARBIE – Review by Lois Alter Mark

Gerwig has done the impossible by creating a movie that addresses all the reasons Barbie (who was introduced to the world in 1959 and has encouraged young girls to become everything from doctors to pilots to CEOs) is still selling globally at the rate of more than 100 per minute – yes, read that again – while, at the same time, is still being blasted for modeling a female physical ideal that can only be achieved in plastic. When the marketing blitz for Barbie first began, it was easy for everyone to roll their eyes and assume the movie would be no more than a feature-length commercial for Mattel. But then, we discovered that Gerwig was directing it and Margot Robbie was starring as Barbie and, suddenly, the potential for a subversive, feminist twist was apparent and intriguing and exciting and our collective conscience began thinking pink.

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BARBIE – Review by Susan Granger

Much-hyped, candy-colored Barbie is not what I expected. I was anticipating a silly, bubble-gum pink caricature of Mattel’s iconic plastic doll. Instead, writer/director Greta Gerwig and producer/actress Margot Robbie have created a satirical comedy-adventure that cleverly exposes our sexist societal shortcomings. Back in 2018, ambitious Israeli businessman Ynon Kreiz decided to expand the Mattel franchise into movies, TV shows, stage productions and theme parks, beginning with this surreal, live-action fantasy.

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BARBENHEIMER Rules: Conflating BARBIE and OPPENHEIMER – Pam Grady Comments

There are places where the two films intersect, making Barbenheimer less ridiculous than the memes suggest: Both Robert Oppenheimer (Cillian Murphy) and Barbie (Margot Robbie) are midcentury icons, Oppenheimer as the father of the atomic bomb that forever changed the way humans live in the world, and Barbie as the doll that broke the mold, freeing little girls from the tyranny of baby dolls and forever changing the way children play with dolls.

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BARBIE – Review by Valerie Kalfrin

Like the doll’s copious wardrobe and accessories, the movie Barbie leaves lots to unpack—and probably more than people might expect. This funny, eye-catching film sports pitch-perfect performances from Margot Robbie and Ryan Gosling, paying tribute to the iconic toy while skewering the patriarchy and feminist window-dressing. It’s also a coming-of-age story about Barbie herself.

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ASTEROID CITY – Review by Sarah Vincent

Shot in black and white on a black box theater set in a 1957 television studio, Wes Anderson regular Jason Schwartzman plays actor Jones Hall, who seduces playwright Conrad Earp (Edward Norton) after landing the role of Augie Steenbeck in Earp’s latest play, the titular Asteroid City. This intimate backstory is one of several behind-the-scenes vignettes about the production of Earp’s final work, which is shot in color – a dreamy, Southwest-evoking palette of teal, orange and tan. A recent widower, single dad and former war photographer, Augie is one of many offbeat parents taking their gifted children to the 1955 Junior Stargazer convention. A brief extraterrestrial visit interrupts the proceedings, triggering a government-imposed quarantine with no travel and no communication with the outside world and sparking a widespread crisis about the meaning of life.

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