Emerald Fennell’s Bold ‘Wuthering Heights’ Ignites Valentine’s Box Office, Captivating Global Audiences
The cinematic landscape this past Valentine’s Day and President’s Day weekend was undeniably dominated by a passionate, R-rated retelling of a timeless classic. Emerald Fennell’s highly anticipated “Wuthering Heights,” starring the incandescent Margot Robbie and the magnetic Jacob Elordi, swept into theaters, claiming the top spot and demonstrating the enduring power of a fervent romantic drama, particularly when reimagined through a contemporary, provocative lens. The film’s compelling debut underscores a pivotal moment for adult-oriented theatrical releases, proving that complex narratives and star power can still draw significant crowds, especially with a strategically timed holiday release.
Fennell, a filmmaker celebrated for her distinct, often darkly satirical and deeply insightful explorations of societal norms and power dynamics, brought her signature style to Emily Brontë’s iconic novel. This marks her third feature, following the critically acclaimed, Oscar-winning revenge thriller “Promising Young Woman” (2020) and the ultra-provocative, conversation-starting “Saltburn” (2023). Her decision to tackle “Wuthering Heights,” a story steeped in toxic love, obsession, and class struggle set against the bleak, beautiful backdrop of 18th-century England, was met with keen anticipation. Audiences and critics alike wondered how Fennell’s modern sensibility would translate to such a revered literary work, and the early box office returns suggest her audacious vision has resonated.
The film opened to a robust $33 million across 3,682 North American theaters over the traditional three-day weekend, with projections indicating a strong $40 million haul through the extended President’s Day holiday on Monday. While these domestic figures were respectable, they were notably eclipsed by the film’s international performance, which delivered an impressive $42 million. This global enthusiasm pushed the worldwide opening weekend total to a remarkable $82 million. The international market’s stronger embrace of “Wuthering Heights” highlights the global appeal of its star-studded cast and its universally understood themes of love and longing. For a film with an $80 million production budget – a significant investment that doesn’t even account for the extensive global promotional tour – this international success is crucial for its overall profitability and long-term viability.
A fascinating subplot to “Wuthering Heights'” journey to the big screen involves a high-stakes bidding war. Industry giant Netflix reportedly offered a staggering $150 million for Fennell’s interpretation, a sum that would have ensured a lucrative streaming-first release. However, Fennell, alongside her producing partners, including lead actress Margot Robbie through her LuckyChap Entertainment banner, made a deliberate and strategic choice. They opted to accept a smaller financial package from Warner Bros. in exchange for a wide theatrical release and the studio’s full-scale marketing campaign. This decision speaks volumes about the value filmmakers and producers still place on the theatrical experience, viewing it not just as a revenue stream but as a powerful platform for cultural impact, critical conversation, and establishing a film’s prestige before its eventual streaming debut.
“They were right [to want a theatrical release]. It’s paying off,” affirmed David A. Gross, head of the prominent movie consulting firm Franchise Entertainment Research. Gross’s assessment underscores the shrewdness of the decision, noting, “The classic material, good-looking actors, and steamy treatment are connecting. Business should be strong overseas, thanks to Margot Robbie and Jacob Elordi.” His comments pinpoint the core elements that propelled the film’s success: a narrative rooted in literary history, brought to life by two of Hollywood’s most sought-after talents, and packaged with a marketing campaign that leaned into its sensual and dramatic appeal – perfectly timed for a Valentine’s Day release.
The film’s casting of Margot Robbie as Catherine Earnshaw and Jacob Elordi as Heathcliff was a stroke of genius, tapping into a broad demographic. Robbie, fresh off her monumental success in “Barbie,” brings both established star power and a demonstrated ability to captivate audiences in complex, often rebellious roles. Elordi, who rose to prominence through “Euphoria” and further cemented his status with compelling performances in “Saltburn” (also directed by Fennell) and “Priscilla,” possesses a brooding charisma that perfectly embodies the tortured anti-hero. Their combined star wattage and undeniable on-screen chemistry were heavily featured in the promotional materials, appealing directly to the film’s target audience. This strategic pairing not only generated significant buzz but also provided a contemporary appeal to a story that, in other hands, might have felt too traditional for modern viewers.
Indeed, “Wuthering Heights” emerged as the quintessential choice for women over the holiday weekend, with exit polls revealing that more than 75% of its opening weekend audience identified as female. This demographic skew aligns with the film’s genre, reminiscent of the wildly popular “Fifty Shades” trilogy and classic rom-coms like “Isn’t It Romantic” and “How to Be Single,” which have historically thrived during Valentine’s Day. However, audience reception was somewhat mixed, as evidenced by a “B” grade on CinemaScore exit polls. While not a poor score, it suggests that while the film successfully attracted its target audience, opinions on the execution of Fennell’s bold vision varied. This mixed reception could potentially impact the film’s word-of-mouth longevity, making its international performance and continued strong appeal to its core female audience even more critical in the coming weeks.
Beyond the passionate drama of the Yorkshire moors, the holiday weekend offered a diverse slate of films, with “Wuthering Heights” handily outperforming several notable newcomers. Among these were the animated sports adventure “GOAT” and the star-studded heist thriller “Crime 101.” Two resilient holdovers, the survival thriller “Send Help” and the Angel Studios rom-com “Solo Mio,” also rounded out the top five, illustrating a varied appetite among moviegoers.
In second place, Sony Pictures Animation’s “GOAT” delivered a respectable debut, earning $26 million from 3,862 venues over the weekend, with a projected $32 million through the four-day holiday frame. This performance is particularly noteworthy given the challenging climate for original animated properties in recent years. Even animation titan Pixar has grappled with launching new franchises successfully, making “GOAT’s” solid start a promising sign for Sony. Produced for an $80 million budget, Sony Pictures Animation is hopeful that this well-received sports story will follow in the footsteps of recent Universal and DreamWorks successes, such as 2023’s “Migration” (which started at $12.7 million and soared to $300 million globally) and 2024’s “The Wild Robot” (which debuted to $35 million and powered to $334 million worldwide). These examples demonstrate that strong word-of-mouth and a lack of direct competition can foster impressive box office endurance for animated films.
Directed by Tyree Dillihay and notably produced by NBA champion Steph Curry, “GOAT” tells the heartwarming and inspiring tale of an anthropomorphic goat who dreams of becoming the greatest of all time in the high-energy, basketball-esque sport of roarball. The film resonated strongly with its primary audience – families – earning an impressive “A” grade on CinemaScore exit polls. This excellent audience reception bodes exceptionally well for sustained word-of-mouth and continued attendance. Furthermore, the film benefits from a clear runway with minimal competition in the kid-friendly animation space until Pixar’s “Hoppers” arrives in March, positioning “GOAT” for a potentially long and profitable run.
Stumbling into the third spot was “Crime 101,” a high-octane heist thriller from Amazon MGM. The film garnered $15.1 million from 3,161 locations over the weekend, with a projected $17.7 million through Monday, though industry rivals suggest the four-day total might settle closer to $15 million to $16 million. While a decent opening for an adult-oriented thriller, this figure becomes more precarious when considering Amazon MGM’s significant $90 million production budget. Given that theater owners typically retain roughly half of ticket sales, “Crime 101” faces an uphill battle to justify its substantial investment solely through theatrical revenue. The film, directed by Bart Layton, known for his compelling work on “American Animals,” boasts an impressive ensemble cast including Chris Hemsworth, Mark Ruffalo, and Barry Keoghan, as it follows an elusive jewel thief orchestrating daring heists across the sprawling Los Angeles freeway system. Moviegoers offered a mixed verdict, reflected in its “B” CinemaScore grade.
Amazon MGM’s strategy for “Crime 101” illuminates the evolving dynamics between theatrical distribution and streaming platforms. The studio, a hybrid entity of e-retailer and media giant, likely views the theatrical run not as an end in itself for blockbuster profits, but as a critical component in elevating the film’s profile and generating buzz before its eventual launch on Prime Video. This approach aims to leverage the prestige and marketing power of a big-screen release to maximize streaming viewership. However, the success of this model remains challenging to quantify, as streaming viewership metrics are largely proprietary and unreported, making it difficult for external observers to definitively assess what constitutes a “win.” Amazon MGM has experienced middling results with other early 2024 releases, such as the Chris Pratt-led “Mercy” and the first lady documentary “Melania,” but holds promise for a rebound in the spring with the highly anticipated sci-fi adventure “Project Hail Mary,” starring Ryan
