Emerald Fennell’s bold reimagining of “Wuthering Heights” brought crowds of women to movie theaters this weekend.

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The road to this moment was anything but conventional. Netflix reportedly offered $150 million for Fennell’s gothic reimagining, yet the filmmaker, alongside producers including Margot Robbie, opted for a traditional theatrical release with Warner Bros. instead. That decision meant less upfront security and far greater risk. However, it also meant ownership of the cultural moment. And, at least for now, the gamble is paying off.

Warner Bros. now celebrates its ninth consecutive No. 1 debut, extending a streak that has turned 2026 into a surprisingly steady year for exhibitors. In an era where streaming premieres can feel disposable within days, Wuthering Heights is intentionally designed as an occasion, something meant to be experienced in a dark theater, collectively.

Wuthering Heights Reviews 

The formula itself wasn’t complicated: classic literary IP, two of the most photogenic stars working today (Margot Robbie and Jacob Elordi), and a marketing campaign that leaned into sensuality rather than prestige stiffness. More than 75% of opening weekend audiences were women, effectively making it the Valentine’s Day destination film, the kind of movie you plan an evening around.

CinemaScore audiences awarded it a “B,” suggesting reactions that are engaged rather than euphoric. But that may be part of the appeal. This isn’t passive viewing; it’s conversation fuel. And internationally, conversation often sustains momentum.

With an $80 million production budget excluding marketing, overseas performance could ultimately determine how triumphant this run becomes. For now, though, Wuthering Heights is winning, and doing so loudly.

‘GOAT’ Gallops Into Second

Trailing behind, yet far from faltering, is Sony Pictures Animation’s GOAT, which opened to $26 million over the weekend and is eyeing $32 million across the four-day holiday. International markets added another $15.6 million, bringing its worldwide debut to $47.6 million. In today’s unpredictable animation climate, where even Pixar has struggled to launch original properties, those numbers register as respectable. Not explosive. Not disappointing. Respectable.

Directed by Tyree Dillihay and produced by NBA champion Steph Curry, GOAT follows an underdog anthropomorphic goat chasing greatness in a basketball-inspired sport called Roarball. Families showed up, and more importantly, they approved. The film earned an “A” CinemaScore, signaling strong word-of-mouth potential.

If Wuthering Heights is the dramatic headline, GOAT may well become the slow-burn success story. With no significant family competition until Pixar’s Hoppers arrives in March, the runway appears clear for steady legs. It may not be leading the weekend, but it is strategically positioned to linger.

‘Crime 101’ Trips Out of the Gate

Then there’s Crime 101, the sleek, R-rated heist thriller starring Chris Hemsworth, Mark Ruffalo, Halle Berry, and Barry Keoghan, which opened softer than anticipated. The Amazon MGM production pulled in $15.1 million over the three-day weekend and projects $17.7 million through Monday. Internationally, it added another $12 million. For a modestly budgeted adult drama, that might qualify as solid.

However, Crime 101 reportedly cost $90 million to produce,  and that changes the equation entirely. Directed by Bart Layton, the film earned positive critical reviews but only a “B” CinemaScore from audiences. The issue doesn’t appear to be quality; it’s scale. With theaters retaining roughly half of ticket revenue, profitability demands sustained momentum. At the moment, the film feels like it’s chasing buzz rather than generating it. On a weekend defined by emotional intensity and spectacle, cool precision struggled to ignite urgency.

‘Send Help’ Keep the Lights On

Further down the chart, survival thriller Send Help added $9 million in its third weekend, lifting its domestic total to $48 million and $72 million globally against a $40 million budget. Quietly profitable. Quietly consistent. 

Angel Studios’ romantic comedy Solo Mio rounded out the top five with $6.2 million for the weekend and $18 million after two weeks, modest but dependable counterprogramming.

Meanwhile, the sci-fi comedy Good Luck, Have Fun, Don’t Die opened to $3.6 million, and Neon’s limited-release mockumentary Nirvanna: The Band The Show The Movie impressed with $1.2 million from just 365 screens, a reminder that niche audiences still respond when targeted precisely.

A Weekend That Signals Momentum