Wuthering Heights is among the all-time classics that always find an audience with every new adaptation. Each generation has a favorite version of Emily Brontë‘s classic, as filmmakers ranging from William Wyler to Emerald Fennell have taken their own approach to the iconic novel. The latest in the line is Fennell’s version starring Margot Robbie and Jacob Elordi, which is a sizzling, dark, stylized reimagining of the beloved story.

Wuthering Heights is a multi-generational, gothic tale of destructive love and revenge between an orphan, Heathcliff, and Catherine Earnshaw, his soulmate. Since the two can’t be together because of the class divide, Catherine marries Edgar Linton for social status. To take revenge on the family, a scorned Heathcliff returns years later to systematically destroy them. Each filmmaker adapts the story to the times, either leaving or adding parts, while the themes of love, revenge, and class divide remain relevant and the most relatable parts of the tale.

While Wyler’s 1939 version is considered a classic and Fennell’s is the latest, there’s a version of the tale that is closest to the original book – BBC’s 2009 British television adaptation starring Tom Hardy as Heathcliff and Charlotte Riley as Catherine Earnshaw. The two had an amazing chemistry with Hardy’s brooding take on Heathcliff, and even turned into an off-screen romance as the two got married after the two-part British drama came out. It seems like while Fennell’s version is captivating a global audience, fans of the Hardy-led adaptation are enjoying the series on PVOD.

Wuthering Heights is among the top 20 PVOD titles on Apple TV, according to FlixPatrol, and is doing particularly well in Australia, securing the #3 spot. The series has no critics’ score on Rotten Tomatoes, but it does boast a respectable audience score of 84%. The miniseries also stars Andrew Lincoln as Edgar Linton, Kevin McNally as Mr. Earnshaw, Burn Gorman as Hindley Earnshaw, Sarah Lancashire as Nelly Dean, and Rosalind Halstead as Isabella Linton, among many others.

Emerald Fennell’s ‘Wuthering Heights’ Is Captivating Audiences in Theaters

With source material as strong as Wuthering Heights and a talented director, Fennell, the Robbie and Elordi-led movie is being appreciated globally. While the internet is full of debates about Fennell’s interpretation, the movie has earned $152 million globally, by far, on an $80 million budget. The gothic romance has divided critics and audiences, who gave it 77% and 59% on Rotten Tomatoes, respectively. The site’s consensus says, “Emerald Fennell’s Wuthering Heights might not be the stuff of high literature but it is a visually vibrant pleasure.”

Meanwhile, you can check out Hardy-led Wuthering Heights on PVOD platforms such as Apple TV and Amazon. Stay tuned to Collider for more updates.

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Release Date

2009 – 2009-00-00

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Network

ITV1

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Directors

Coky Giedroyc

Writers

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Peter Bowker

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The Western may not dominate Hollywood the way it once did, but it’s never truly left the cultural conversation. In recent years, creators like Taylor Sheridan have revived the genre through modern sagas like Yellowstone and period-driven stories like 1883 and 1923. Even awards-season contenders like 2025’s Train Dreams have proven there’s still room for dusty landscapes and emotional reckonings on the big screen, not to mention modern classics like True Grit and 3:10 to Yuma — ironically both remakes of older westerns.

But long before prestige cable and neo-Westerns, there was one trilogy that reshaped the genre entirely — a trio of films that every cowboy epic since has been chasing, and now, that trilogy is about to disappear from streaming. The Dollars Trilogy — A Fistful of Dollars, For a Few Dollars More, and The Good, the Bad and the Ugly — is officially leaving Prime Video on February 28, giving fans less than a month to revisit one of cinema’s most influential runs.

Directed by Sergio Leone and starring Clint Eastwood, the trilogy didn’t just popularize the Spaghetti Western — it redefined what a Western hero could look like. Eastwood’s cigarillo-smoking antihero, the “Man With No Name,” first rides into town in A Fistful of Dollars, a gritty tale of gang warfare in the border town of San Miguel. The sequel pairs Eastwood’s drifter with a rival bounty hunter in pursuit of a dangerous outlaw, before The Good, the Bad and the Ugly perfected the formula.

How Good Is ‘The Dollars Trilogy’?

Collider’s Blu-ray review stated that The Good, the Bad and the Ugly is pure cinema — not necessarily profound in theme, but undeniably masterful in execution, stretching style, sound, and image into something unforgettable. The review emphasized that the film demands to be seen big and heard loud, praising high-definition releases for enhancing Leone’s grand, operatic style. While Leone’s Once Upon a Time in the West may be his crowning achievement, The Good, the Bad and the Ugly stands only a breath behind — one of the defining Spaghetti Westerns and an essential piece of film history.

This is one of the great Spaghetti westerns, and though Leone’s next, Once Upon a Time in the West, is his masterpiece, this is only spitting distance from that. This is an absolute must-have.

The Dollars Trilogy leaves Prime Video at the end of February.

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Release Date

December 22, 1966

Runtime

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161 minutes

Writers

Agenore Incrocci, Furio Scarpelli, Luciano Vincenzoni, Sergio Leone, Mickey Knox

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Producers

Alberto Grimaldi

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‘Father Knows Best’
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A reported 911 dispatch call is shedding new light on how Martin Short’s daughter, Katherine Hartley Short, was discovered dead in her home.

TMZ reported on Tuesday, February 24, that it had obtained audio in which a police dispatcher noted that the person who called 911 said they were at Katherine’s home in the Hollywood Hills but unable to enter a bedroom on the property.

The Los Angeles Police Department confirmed to Us Weekly that officers responded to a radio call of a possible suicide attempt on Monday, February 23, at 6:43 p.m. The LAPD said responding officers found a deceased female at the location. A cause of death has not yet been determined.

Martin’s family confirmed Katherine’s death in a statement to Us on Tuesday. She was 42.

Related: Martin Short’s Daughter Katherine Short’s Neighbors React to Her Death

Martin Short’s daughter Katherine Hartley Short’s neighbors are “sad” over the death of the “great” resident. A next door neighbor exclusively tells Us Weekly that Katherine was a “great neighbor and gardener,” ahead of her death at age 42, which her family confirmed on Tuesday, February 24. “It’s incredibly sad,” the resident, who wishes to […]

“It is with profound grief that we confirm the passing of Katherine Hartley Short. The Short family is devastated by this loss and asks for privacy at this time,” the actor and comedian’s rep said. “Katherine was beloved by all and will be remembered for the light and joy she brought into the world.”

Martin, 75, adopted Katherine with his late wife, Nancy Dolman. The couple also shared adopted sons Oliver, 39, and Henry, 36. Nancy died at age 58 in August 2010 after a battle with ovarian cancer.

Some of Katherine’s neighbors in the Hollywood Hills remembered her on Tuesday, with a next-door neighbor describing her as a “great neighbor and gardener.”

“She was very nice, but this is a quiet neighborhood, and to be fair, we don’t see too many neighbors usually out,” said another neighbor, who added that Katherine was a respectful neighbor who didn’t throw parties and wasn’t loud.

Martin previously opened up about the impact of his wife’s death on the Short family.

In a 2012 interview with The Guardian, the Only Murders in the Building star said “it’s been a tough two years” for his children.

“This is the thing of life that we live in denial about, that it will ever happen to us or our loved ones, and when it does, you gain a little and you suffer a little,” Martin said at the time. “There’s no big surprise.”

In 2014, the Emmy winner shared more details about how he and his family remembered Nancy after her death.

“[Nancy] had once said to me, ‘I don’t want a funeral and I don’t want a memorial. Throw a party, or not.’ She just was so irritated that she was losing this battle, she didn’t want to think about it,” Martin said on The Meredith Vieira Show. “So I just followed her wishes. We went up, we had a party with about 30 close friends and family. She was cremated. The kids and I went into a boat, we sprinkled the ashes into the water, and we jumped into the ashes.”

If you or someone you know is struggling or in crisis, help is available. Call or text 988 or chat at 988lifeline.org.

When the word “Kaiju” enters a conversation, most people tend to think of Godzilla. The King of the Monsters’ debut in 1954 was both iconic and chilling, especially since he was meant to serve as an allegory for the horrors that nuclear warfare could bring upon the Earth. While there have been some valiant attempts, very few monster movies come close to capturing the blend of allegory and spectacle of Godzilla. That all changed in 2016 when Nacho Vigalondo delivered one of the strangest yet unique monster movies with Colossal.

Colossal follows the life of Gloria (Anne Hathaway), a writer struggling with her alcoholic tendencies and the end of her relationship. At her rope’s end, she travels back to her hometown of Mainhead, New Hampshire, where she takes up a job at a bar run by her childhood friend Oscar (Jason Sudeikis). Around the same time, a massive reptilian monster starts ripping through Seoul, South Korea. It’s revealed that the monster is connected to Gloria’s actions; if she dances, it dances, and if she walks, it walks — though it ends up causing more destruction in the process. What really makes Colossal a standout is how it uses the monster as a metaphor for alcoholism and its destructive effects.

Image via Neon

Colossal was a turning point in Anne Hathaway’s career. While she’d previously played a literal princess in The Princess Diaries, a struggling journalist in The Devil Wears Prada, and impressed fans with her turn as Catwoman in The Dark Knight Rises, Colossal lets her tap into her inner messiness to play Gloria. Gloria’s alcohol issues, much like the monster stomping through Seoul, make a mess of her life. She loses her job, her boyfriend, and is directly responsible for causing untold damage halfway around the world. Part of the draw of Colossal is watching Hathaway play a character who’s the complete opposite of her usual roles, and nailing it in the process.

If Hathaway’s performance in Colossal is a surprise, then no one was prepared for the extremely dark turn Sudeikis takes as Oscar. Midway through Colossal, it’s revealed that Oscar can control his own massive avatar, a giant robot. It’s also revealed that he is a monster himself: he bullies one of his friends, Joel (Austin Stowell), for showing romantic interest in Gloria, and starts verbally belittling her as she begins to gain control over her monster. It’s a pattern that fits an abusive relationship to a T, and it’s utterly shocking to see the man who would later play the incredibly kind Ted Lasso play such a despicable human being. Yet it also shows that Sudeikis has incredible range as an actor.

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An Indie Studio Owes Its Success to ‘Colossal’

Though Colossal turned out to be a surprise hit when it premiered at the Toronto International Film Festival (TIFF) in 2016, it faced opposition from Toho, the studio behind the Godzilla films. Toho sued Colossal‘s distributor, Voltage Pictures, in 2015, alleging that publicity materials included images from Gareth Edwards’ Godzilla and that Voltage was attempting to make an unauthorized Godzilla knockoff. Nacho Vigalondo didn’t help matters, as one of his quotes describing Colossal was used as fuel for Toho’s legal fire:

“It’s going to be the cheapest Godzilla movie ever, I promise. It’s going to be a serious Godzilla movie, but I’ve got an idea that’s going to make it so cheap that you will feel betrayed.”

Toho and Voltage eventually settled out of court, which turned out to be a boon to the indie world. Following its TIFF premiere, Colossal was scooped up by NEON, which has become one of the world’s biggest independent film distributors. NEON’s list of films includes Academy Award winners like Parasite and Anora, as well as sleeper hits like Hulu’s Palm Springs. None of it would be possible without Colossal, which shows that Godzilla isn’t the only giant monster that can rule the movie screen.

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Release Date

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April 6, 2017

Runtime

109 minutes

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Director

Nacho Vigalondo

Producers

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Dominic Rustam, Nahikari Ipiña, Nicolas Chartier, Russell Levine, Zev Foreman

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