„Bouřlivé výšiny“
Režie: Emerald Fennell6.158%76%6.5
Na pustých yorkshirských vřesovištích se rodí láska, která nemá milosrdenství. Catherine Earnshaw a Heathcliff – přátelé, milenci, nepřátelé – spojeni vášní, která pohlcuje vše kolem. Žárlivost, zrada a touha po moci je vtahují do spirály nenávisti, jež překračuje hranice života i smrti.
Hodnocení a recenze „Bouřlivé výšiny“
- vangh117. února 2026In a word? Agony. I had no idea what I was getting in to. I hasn't read the book, I didn't see a trailer, I was expecting some Regency era Valentines drama. And after the opening sequence with the hanging, I realized I was wrong and I that I was apparently in for something a little bit fun and macabre. But nope, wrong again. A lot macabre, but no fun at all. I have never been the type of person to watch a movie through the slits of my fingers, or to exclaim my feelings dramatically but I engaged in both excessively while I watched Cath and Heathcliffe engage in their mess. Before I knew all was doomed to a toxic, infidelitous, on again-off again pas-de-deux, came the scene where Cath is in the loft, peeking at Joseph and Zilla having their kinky fun. And when Heathcliffe puts his hands over Cath's mouth and eyes, hoo boy. Such good storytelling. This intensely intimate moment in which they're so physically close and titillated by proxy but unable to act on it both in the immediate and in the long term. Such an impressive physical manifestation of their situation as a whole. But instead I spent the whole movie gasping, sighing, and wondering, "What the fuck...?" while they ruin the lives of all around them while they try to figure out what it is they actually want. And the movie seems to think, on some level, their whole dynamic is a viable depiction of love and not the deplorable acts of traumatically unwell people who are incapable of getting out of their own way. As the credits came up I thought it was a good thing I'd never read the book, but in what little bit I've gathered in my post-viewing reading it sounds like the book actually acknowledges the toxicity and failings of these individuals (both how the world fails them, and how they fail themselves and each other) so maybe I'd have been better off. Why this was released on Valentine's Day, I'll never be able to reconcile.
- Jill Platts18. března 2026I will never fully recover from this movie.
- Npřed 3 dnyReally really weird. Not what I thought it would be. That man is a red fucking flag. This is not romantic, its fucked up, many unfucked people upvoting this movie honestly.
- Rick Masters17. dubna 2026Two horny horrible people do horny horrible things for two+ hours.
- cultfilmliker17. února 2026I should start chasing women in the rain Charli xcx week ruled Obscenely sexy and not even a hint of nudity! Not trying to kink shame (like the movie does lol jk) but Emerald definitely has a degradation fetish Charli’s music was incredible of course Love the 1900’s / stage play set backgrounds So much phallic and yonic symbolism!! And gooey Hate to say it but I mean he definitely offed himself after this right lmao I had passion like this once! I miss that Watched alone in IMAX at Warren Regal West Currently Ranked #4/16 in 2026 Ranked
- mustanggt82před 6 dnyWhat a wonderful depiction of darkness and a pure cinematic orchestra of feeling.
- doctorcrush20. března 2026Red. Red. Oh heathcliffe, I am dead.
- rg94005. dubna 2026As someone who hasn't read the books, accuracy was not something I was super concerned about when watching this movie. I knew going into it that it was a very poor adaptation, but I had been entertained by Emerald Fennell's prior two movies and was still a bit hopeful despite the overwhelming negative reviews. First off, her visual style is fully on display here, with sumptuous costumes, striking set designs, vibrant and purposeful colors that pop off the screen, and fantastic framing. In terms of cinematography, this movie is gorgeous. It's something Fennell has been getting better and better at. However, her most glaring weakness, her writing, is on full display here as well. I could go through the rough pacing or the lack of strong character work or themes. These are all moot points though. The cardinal sin in this movie is that it is just boring. The imagery can't prop open the lack of any sort of narrative tension or emotional weight. Margot Robbie and Jacob Elordi are both phenomenal talents and are also clearly horribly miscast. Their chemistry is simply not that great either. Also, this movie is surprisingly tame. Based on early reactions and her past works, I was anticipating something overtly sexual and controversial, but it feels like she restrained herself because she might have genuinely wanted to adapt a classic (even if her understanding of that classic is allegedly terrible). The best example of this is the soundtrack. Despite having Charlie XCX, the soundtrack does not have the type of needle drops or unique audiovisual pairings that her prior two movies were known for. She isn't going all out stylistically, and so this movie ends up the worst of both worlds. It isn't a faithful adaptation, and it isn't a glittery pop-infused two hours of entertainment either. It's just boring.
- mesmer1x16. dubna 2026Had to stop at around 70%... It's not that spicy and I just don't care. Shame, too. Beautiful set work and costuming, amazing actors... Just. I don't care. Unlikeable characters all around.
- jaunajackson5. dubna 2026I love this movie and I am NOT big on romance/drama movies and this is now one of my favorite movies great acting, didn’t even know it was a book but I’ve read some and its not accurate but some similar things but overall still a very good in my opinion.
- James Saenz12. dubna 2026lol. lmao, even. alison oliver, hong chau and charli xcx innocent. i like the book, i’m not obsessed with it like i am with other literature from the time (my heart belongs to my queen jane austen), but i still really respect brontë’s exploration of racism and socioeconomic standings, how resentment bred from abuse and obsessive relationships contribute to cycles of abuse, the blurring of the lines of morality, and the contortion of the concept of love. as i was reading it i never felt like i was reading a love story; catherine and heathcliff’s relationship is obviously the core of the narrative, but it’s more of a catalyst for events rather than the focus of the novel. if anything, it’s a ghost story; catherine dies halfway through the novel and even when characters are absent they leave this oppressive weight, haunting others through memory. i have not enjoyed much of emerald fennell’s art (her time on killing eve is her best work, and saltburn at least had good performances by its whole cast), and i know she enjoys implementing surprises and sexually violent third act turns, so coming into this adaptation i felt prepared for whatever she tried throwing my way; funnily enough she did manage to surprise me. i expected her to fumble the story, but instead she chose to omit half of it. it’s baffling to me that this film (and apparently most film adaptations of this story, but this is the first i’ve seen) would refuse to even entertain the idea of adapting the back half of the novel. the first half is compelling enough, but without the context of how heathcliff’s revenge plot unfolds it’s simply another melodrama; i literally got out of a screening of the notebook not even twenty minutes before this film’s showtime, and that made for a damning double feature. the genuine chemistry between the leads and the sincerity in the romance informs every decision made in the notebook, whereas this - as a straight up romance, not an adaptation - felt so dull in comparison with two miscast leads. robbie and elordi don’t seem to be phoning it in, but fennell definitely feels like she’s a child mashing a beanie baby and a barbie together and telling them to kiss. obviously, the casting of a white man in the role of heathcliff causes a myriad of issues with the themes of the narrative and it feels like a microcosm for the issues of this adaptation as a whole, but even if we disregard that blatant error he’s just given little to do, which is supremely disappointing in comparison to his performance as another gothic literature icon not even four months ago. fennell’s obsession with portraying “sexual deviance” while laying out the most boring and vanilla shit honestly flattens the romance; pup play for kinks? groundbreaking. watching her attempt to slap the flaccid chemistry between elordi and robbie into something arousing was not in any way titillating, and instead elicited the same ick in me as when i come across tiktoks made by men trying to be sexy while baking or cooking; get your finger out of my fish’s mouth stop molesting it i’m not even hungry anymore. there’s so much to complain about from both an adaptational perspective and as a romance film lover, but i simply am not a strong enough shooter for the novel to go on. fennell’s feature films continue to be shallow, duller versions of better films; she wears her influences on her sleeves and it’s kind of embarrassing knowing how much worse her art is in comparison; marie antoinette bodies this film in the anachronism department and you just know fennell idolizes coppola. at least fennell has an eye for gorgeous images. p.s. the discourse around this film and the girlypop-ification of anti-intellectualism is so nauseating.
- JeiKuma29. března 2026My most pointless watch of the year so far
- Eithan6. dubna 2026I'm not crying... you're crying!
- SirMonkalot4. dubna 2026Not my kind of movie. Way too long and the characters are just shitty people. At least it was visually appealing.
- Kevin Parry2. dubna 2026Play stupid games, win stupid prizes
Sledovat videa „Bouřlivé výšiny“
„Bouřlivé výšiny“ Trivia
„Bouřlivé výšiny“ byl vydán 11. února 2026.
„Bouřlivé výšiny“ byl režírován Emerald Fennell.
„Bouřlivé výšiny“ je dlouhý 2 h 16 m.
„Bouřlivé výšiny“ byl produkován Margot Robbie, Emerald Fennell, Tom Ackerley, Josey McNamara, Rosie Goodwin.
Na pustých yorkshirských vřesovištích se rodí láska, která nemá milosrdenství. Catherine Earnshaw a Heathcliff – přátelé, milenci, nepřátelé – spojeni vášní, která pohlcuje vše kolem. Žárlivost, zrada a touha po moci je vtahují do spirály nenávisti, jež překračuje hranice života i smrti.
Klíčové postavy v „Bouřlivé výšiny“ jsou Cathy (Margot Robbie), Heathcliff (Jacob Elordi), Nelly (Hong Chau).
„Bouřlivé výšiny“ je hodnocen 15+.
„Bouřlivé výšiny“ je film s žánrem Drama, Romantický.
„Bouřlivé výšiny“ má hodnocení diváků 7.6 z 10.
„Bouřlivé výšiny“ měl rozpočet 80 mil. US$.
„Bouřlivé výšiny“ vydělal v kinech 241,7 mil. US$.