Original caricature by Jeff York of the main cast of WICKED: FOR GOOD (copyright 2025)
Last year the film adaptation of WICKED defied gravity by not only being an expert translation of the ginormous Broadway hit, still packing the house at the Gershwin after over two decades, but the film wowed critics, made over $800 million worldwide, and received 10 Oscar nominations. Yet, the film was only half the story with the entire second act of the Great White Way’s musical to arrive a year later. Now WICKED: FOR GOOD is here and I’m happy to report that while it may surprise some at how much darker and devastatingly emotional it all is, the quality of the adaptation is as strong as ever. In many significant ways, it surpasses last year’s film, especially in how the Glinda character becomes more focused upon. Suffice it to say, both WICKED and WICKED: FOR GOOD stand as superb film adaptations and, to quote a refrain of one of Glinda’s songs in this one, I couldn’t be happier.
Asking audiences to take the leap of faith it requires to believe in the very concept of a musical has always been tricky. People don’t just break out into song, after all, and if they buy it on Broadway, accepting such a premise on film becomes even more difficult of a task as it’s a close-up and more ‘realistic’ medium. Part of why the WICKED saga succeeds on screen is that the songs are so crucial to it all, sold to the rafters by two ginormous talents – Cynthia Erivo and Ariana Grande. (No weak-voiced Russell Crowe struggling through LES MISERABLES is found here.) Stephen Schwartz’s stellar songs also are full of emotion and have always felt wholly crucial to every beat in the story and character development. Even with the fantastical production design, costumes, special effects, and cinematography, the gravitas of two women holding their space in the world makes their story admirable, relatable, and eminently watchable, and comes through the strongest in the songs. (Talk about finding your voice!)
The story picks up from where the first one ended with Elphaba (Erivo) hiding in exile while working against the charlatan Wizard (Jeff Goldblum) and his cold-blooded puppet master Madame Morrible (Michelle Yeoh). She wants the citizenry to take their cue from them and demonize the land’s animals as the cause of all Oz’s problems. (Yes, the whole marginalization of a minority group to secure governmental power probably resonates even more in 2025 than it did in 2024.) Glinda (Grande) has been promoted to be the front for the Ozian power couple, putting a sweet face on their deceptions and prejudices. Thus, the story becomes a two-tracked one with Elphaba’s attempts to topple the con being one of them, and Glinda’s role in it or against it, the other.
Indeed, the first act of WICKED, and its namesake film, belonged mostly to Elphaba and her arc concerning her desire for acceptance even though she’s green. She thought partnering with the Wizard to be a great witch would be her ticket but soon realized that he was a sham out to destroy anyone in his way, including those different like her. The second half, and what drives the film of WICKED FOR GOOD, is Glinda’s arc. Will she wise up to how she’s being used, and even if she does, what will she do about it?
Fortunately, Grande not only is up to all the focus on Glinda’s journey, but her performance here surpasses her Oscar-nominated turn in the first film. In a word, she is phenomenal, giving a performance that is chock full of nuance, charm, fear, and tragedy. She’s got comic sensibilities that reflect everyone from Mel Brooks to Blake Edwards to Marilyn Michaels as anyone who’s seen her host SATURDAY LIVE can attest, and yet it’s her dramatic scenes in this one that pack the wallop. The way she uses her voice, body language, pauses, and those large doe eyes of hers to convey hurt is palpable throughout. Don’t be surprised if your eyes are filled with tears throughout too.
Grande is the standout this go-round, but everyone makes more of their time on-screen as well. Erivo only gets stronger with each successive minute, establishing Elphaba as one of the screen’s greatest and most admirable heroines. Jonathan Bailey’s Fiyero is no longer the easy-breezy charmer as he was in the first film, but rather, a man who finds himself in compromised circumstances, much like those of Glinda. His arc is a fascinating one too, leading to some scenes of mild violence, but it isn’t enough to keep the kiddies away.
Goldblum and Yeoh add to their villainy, while also helping us get a bigger picture of their Machiavellian motivations more. And Nessa (Marissa Bode) and Boq (Ethan Slater) make even stronger impressions for good, though their parts may still be a bit underdone. I missed Peter Dinklage’s distinct voice as Dr. Dillamond this go-round, but the other voices behind the CGI animals manage to convey a lot of feeling. Oh, and as big a deal as was made of the fact that the estimable Colman Domingo would be voicing the Cowardly Lion, the part just isn’t large enough for it to make that much of an impact.
Almost every element of WICKED: FOR GOOD builds on the first film’s bold successes, often surpassing them. Winnie Holzman and Dana Fox’s script darkens in tone while enlightening the story. It’s a savvy adaptation, keeping what’s beloved from the stage, but expanding the narrative with the time opportunity given across two films. Paul Tazewell’s costumes and Nathan Crowley’s production design seem even more intricate and fresh here. And Alice Brooks’ cinematography feels richer too, perhaps a conscious choice to read as lusher than some of the scenes that viewers thought too washed out from last year. Two new songs have been added, written expressly for this film, that are decent, but not likely to win the Oscar for Best Song. One entitled “The Girl in the Bubble” adds nicely to Glinda’s arc even though the tune isn’t quite hummable. And the “No Place Like Home” number showcasing Elphaba’s bonding with emigrating animals isn’t nearly as moving as it should be. Erivo comes off much better in her take on the original show’s “No Good Deed Goes Unpunished.” It’s unquestionably the showstopper here, even getting the critics at our screening to applaud after its conclusion.
And one must hand it to director John M. Chu whose bravery and intuition are a marvel at every turn. His confidence and skill can be seen in places where too many directors fail to impress when adapting musicals for the screen. He clearly loves all the song & dance, leaning into every number unapologetically. Chu also knows how to film choreography and move his camera with similar grace. He understands just when the film calls for close-ups too, as well as when it’s best to pull back and let the production design breathe.
Kudos to Chu too for not shirking away from maximizing the material’s horror elements, particularly with the flying monkeys, the giant Oz head, not to mention the scenes of body transformation that are shocking when revealed. Indeed, there were strains of horror in the original 1939 THE WIZARD OF OZ, let alone all of L. Frank Baum’s source material novels, and Chu doesn’t pull any punches here regarding the scares. (I don’t know if the Jack Haley estate would forgive the Gregory Maguire take on the Tin Man that is kept intact here, but it’s as heartless as intended. Whew!)
All in all, WICKED: FOR GOOD delivers the goods and the greats. It’s full of brio, vigor, fun and feeling. It’s very hard to get musicals right, let alone adaptations from Broadway to Hollywood, but this one, like last year’s chapter one, is exceptional. And whether it’s regarding audiences, the box office, or awards season, it’s hard to see this film as being anything but wildly (ahem) popular.
