Reviews are technically under embargo until next week for Emerald Fennell’s splashy, bodice-ripping adaptation of Emily Brontë’s “Wuthering Heights.” But flamboyantly adulating first reactions all over X might suggest they are only under embargo if your feelings aren’t positive.

IndieWire’s “Screen Talk” podcast hosts Anne Thompson and Ryan Lattanzio have both seen the movie, as have many of the press corps coast to coast. So while we can’t dig as deep into it as we’d like at this point, we do take a superficial look at the film in this week’s episode. Led by global stars Margot Robbie and Jacob Elordi as the lusty, coming-unrepressed Catherine and Heathcliff, the “Saltburn” and “Promising Young Woman” filmmaker’s eye-popping just in will make scads of money for Warner Bros. The film should expect to continue a winning streak that launched last year with “Sinners” and potentially be in the crafts awards conversation.

But as with any film that’s previewed early for junket press, approach the first reactions with caution. It’s been called “intoxicating, transcendent, tantalizing, bewitching, lust worthy, hypnotic,” “scorching hot,” an exquisite spectacle,” and “a breathtaking work of visual art.” (Variety rounds up the reactions nicely here.) You’re unlikely to see a lot of negative feedback on social media right now — unless you look at some of the international response since this lushly designed film had a premiere in Paris earlier this week. Still, the earlier and cushier the access, the more likely to elicit a positive response.

The movie’s fealty to the source material, as called into question by many since the very casting of these two leads, is ultimately irrelevant. This is not your high school syllabus version of “Wuthering Heights,” to be sure. Whether that’s for better or worse, well, we will dive into that more next week when the movie opens February 13. One thing’s for sure, as you could already glean from the trailer: “Wuthering Heights” is all about excess, excess, excess.

Elsewhere on “Screen Talk” this week, we give a final toast to Park City as Sundance shuffles off its slopes, and pick our five favorite films each from the festival that aren’t “Josephine.” Beth de Araújo’s Grand Jury Prize winner has been practically universally anointed as the best of the fest, so we wanted to make room for more films like the documentaries “Closure” and “The History of Concrete,” and narrative features like “Wicker” and “Leviticus.”

Listen to this week’s episode below or on your favorite podcast platform.