President's Day At The Movies: 'Wuthering Heights,' 'Crime 101,' 'GOAT,' 'Nirvanna The Movie,' More Must-See

LOS ANGELES, CA — From storm‑lashed gothic longing to prank‑bright mischief, sun‑drenched heists and unconventional romances, this week’s watch list spans a full spectrum of cinematic chaos and desire.

“Wuthering Heights” finds Jacob Elordi and Margot Robbie locked in a ferocious, era‑bending reimagining of Brontë’s doomed lovers, their bond spiraling into obsession under Emerald Fennell’s ravishing, confrontational gaze.

“Nirvanna the Band the Show the Movie” sends Matt Johnson and Jay McCarrol careening through a deliriously meta stunt‑comedy, where real‑world chaos collides with scripted absurdity in their quest for a breakthrough.

“Crime 101” follows Chris Hemsworth as a meticulous master thief navigating a sleek, sun‑baked web of high‑end heists, with Halle Berry and a stacked ensemble tightening the film’s cool, deliberate pulse.

“GOAT” follows a small goat named Will (voiced by Caleb McLaughlin) as he fights for a place in a creature‑filled league. Bold, expressive animation gives the film its big‑hearted, dazzling energy.

“Pillion” trails Colin, played by Harry Melling, as he’s drawn into a charged, unconventional romance with Alexander Skarsgård’s enigmatic biker, unfolding as a raw study of desire and boundaries.

“Good Luck, Have Fun, Don’t Die” sends Sam Rockwell barreling through a frantic, future‑born mission as he recruits a band of unsuspecting diner regulars — with Haley Lu Richardson, Michael Peña and Zazie Beetz elevating the film’s wild, high‑concept pulse.

Related:

• 'Wuthering Heights' Review — A Classic Gothic Romance Sizzles With Margot Robbie And Jacob Elordi

Ready to dive in? Scroll down for the full lineup — and step into the shimmering world of storytelling, where every frame offers an escape, with deeper explorations below that unpack performances, themes and craft in greater detail.

What To Watch This Weekend

Wuthering Heights

Jacob Elordi, Margot Robbie; directed by Emerald Fennell

Emerald Fennell’s “Wuthering Heights” storms across the screen with a ferocity that feels both ancient and startlingly new — a tale of two souls bound by desire, class, and a ruinous longing that refuses to fade. Jacob Elordi and Margot Robbie ignite the film as Heathcliff and Catherine, their performances charged with a volatile mix of hunger, hurt and magnetic pull.

Fennell approaches Brontë’s novel with the same audacity that shaped “Promising Young Woman” and “Saltburn,” leaning into the story’s corrosive passions and its near‑masochistic emotional terrain. Her vision is lush, confrontational and unapologetically modern, placing her in conversation with filmmakers who reframe period settings through contemporary emotional registers.

The film’s sensuality is potent and deliberately destabilizing, its erotic charge sometimes threatening to overwhelm, yet always grounded in character. Visually, Linus Sandgren renders the moors, estates and intimate spaces with a tactile, storm‑lit intensity, while Anthony Willis’ score and Charli XCX’s contributions deepen the film’s operatic ache.

What emerges is a romance rotting from within — a portrait of love as wound, compulsion and inheritance. Fennell’s adaptation is bruising, hypnotic and fiercely alive, a reminder that some emotional storms never pass.

“Nirvanna the Band the Show the Movie”

Matt Johnson, Jay McCarrol; directed by Matt Johnson

“Nirvanna the Band the Show the Movie” is a deliriously meta, chaos‑fueled expansion of Matt Johnson and Jay McCarrol’s cult series — a prank‑driven, genre‑scrambling comedy that blurs fiction, reality and outright mischief. Johnson and McCarrol reprise their roles as two delusional best friends convinced they’re destined for fame, and the film follows their increasingly unhinged attempts to stage the ultimate breakthrough.

What makes the movie sing is its anarchic spontaneity: real‑world interactions collide with scripted absurdity, creating a comic energy that feels both reckless and strangely sincere. Johnson leans into the duo’s lovable ineptitude, crafting a film that’s part mockumentary, part stunt, part friendship story.

The result is a scrappy, self‑aware riot — a celebration of ambition, delusion and the beautiful disaster of trying to make something big with your best friend. It’s messy, inventive and impossible not to root for.

“Crime 101”

Chris Hemsworth, Halle Berry; directed by Bart Layton

“Crime 101” unfolds as a sleek, sun‑drenched thriller anchored by Chris Hemsworth in a sharply controlled performance. He plays a master thief whose meticulous, methodical approach to high‑end heists gives the film its cool, deliberate pulse. Hemsworth shifts into a more restrained register here, emphasizing precision and discipline over bravado, and the result is one of his most focused turns in years.

A star‑packed ensemble — including Halle Berry, Mark Ruffalo, Barry Keoghan and Jennifer Jason Leigh — adds texture and momentum, each presence contributing to the film’s layered structure. The only drawback is the sheer size of the cast: with so many moving parts, not every thread lands with equal weight, and some characters feel more like intriguing fragments than fully realized arcs.

Even so, Bart Layton shapes the story with crisp pacing and a keen eye for detail, delivering a taut, stylish crime drama with a magnetic center.

“GOAT”

Voice cast: Caleb McLaughlin, Gabrielle Union, Nick Kroll; directed by Tyree Dillihay

“GOAT” bursts onto the screen with bold, high‑energy animation and a vibrant sports‑fantasy world built around the creature‑filled game of Roarball. Caleb McLaughlin brings warmth and drive to Will Harris, a small goat but determined athlete pushing against expectations, while Gabrielle Union and Nick Kroll add spark and personality across a lively supporting cast. The film’s visual identity stands out immediately — elastic, colorful and confidently stylized, giving the action sequences a dynamic, propulsive charge.

Tyree Dillihay keeps the momentum brisk, blending humor, heart and inclusive themes into a story that aims to inspire as much as entertain. The narrative leans on familiar underdog‑sports beats, which can make certain turns feel expected, but the execution remains spirited enough to carry the film through its well‑worn rhythms.

Ultimately, “GOAT” lands as a big‑hearted, high‑energy crowd‑pleaser with a distinctive visual flair and genuine charm.

Pillion”

Harry Melling, Alexander Skarsgård; directed by Harry Lighton

“Pillion” is a daring, sharply observed erotic comedy‑drama that follows Colin — played with disarming openness by Harry Melling — as he’s drawn into an unconventional relationship with Ray, the enigmatic biker embodied by Alexander Skarsgård. Melling’s performance is all exposed nerves and tentative desire, charting Colin’s evolution from uncertainty to a clearer sense of his own boundaries. Skarsgård brings a charged, unreadable presence to Ray, shifting between authority, detachment and flashes of unexpected warmth that keep the dynamic taut and unpredictable.

Harry Lighton directs with striking precision, blending humor, tension and emotional candor without tipping into sensationalism. The film’s visual language — from cramped domestic interiors to expansive stretches of road — mirrors the shifting power between the two men. Its understated approach can occasionally diffuse the dramatic pressure, but the emotional specificity of the performances keeps the story compelling.

“Good Luck, Have Fun, Don’t Die”

Sam Rockwell, Haley Lu Richardson; directed by Gore Verbinski

“Good Luck, Have Fun, Don’t Die” finds Gore Verbinski returning to the playful, high‑concept energy that powered blockbusters like “Pirates of the Caribbean: The Curse of the Black Pearl” and “Rango.” The film opens with a frantic man from the future — played with loose, lived‑in charm by Sam Rockwell — crashing into a Los Angeles diner to warn its patrons that a rogue artificial intelligence is about to end humanity. Haley Lu Richardson, Michael Peña and Zazie Beetz form the reluctant crew drafted into his mission, each bringing sharp comic timing and grounded warmth.

Verbinski stages the escalating chaos with visual wit and a sense of momentum, blending apocalyptic stakes with hangout‑movie looseness. The tonal shifts can be unruly, but the ensemble’s chemistry and the film’s inventive set pieces keep it buoyant — a bright, propulsive riff on techno‑doom that still believes in people.