Phil Roberts 
Wicked For Good is a phenomenal yet flawed finale. Despite the tour-de-force performances of its two leads and its spectacular cinematography and musical numbers, the lack of depth is glaring.
We have finally reached the end of the Yellow Brick Road. After devoting almost five years of his career to his adventures in Oz, Jon M. Chu returns this week for the thrilling climax to the Wicked saga with Wicked For Good. The film brings the tale of the Witches of Oz to an end and culminates years of hard work and dedication from an incredible ensemble cast led by Cynthia Erivo and Ariana Grande. With the first film receiving mixed reviews, especially from yours truly, the hope is high that the sequel can send the series out on a high note. But even with this wealth of talent, can the sequel genuinely deliver the experience we are hoping for? Or is this latest attempt to bring the Land of Oz to life another flawed and lifeless spectacle?
REVIEW
Fear not, dear citizens of OZ, because Jon M. Chu’s Wicked For Good is a phenomenal but flawed finale. Despite the TOUR DE FORCE performances of its two leads, the plot is often muddled by its conveniences tempering any brilliance it worked to establish. That said, John Powell’s score is magnificent, the new songs are performed gloriously, and the tone is emotionally charged. It’s a bold, breathtaking, but frustratingly flawed finale.
Like the first film, Alice Brooks’ sumptuous cinematography is absolutely breathtaking, boasting some of the most vivid scenery you’ll see all year. The colors are rich and vibrant, the costume design once again defies all expectations, and Jon M. Chu’s eye for the material shines through. However, once again, fans of the original 1939 movie will be put off by the narrative changes that cast an unfavorable light on some of the IP’s legacy characters – and that is unforgivable. In the end, the film is a gloriously rich, compelling, and rewarding spectacle that ultimately lacks the depth and conviction of the stage show.
CYNTHIA ERIVO & ARINA GRANDE
Jon Chu built the original film around Cynthia Erivo and Ariana Grande, and the sequel goes even further to put both stars on a pedestal, and rightly so. Both actors come to the fore with their A-Game in the sequel, and both deliver phenomenal performances here. Their commitment to making the film the best it can be shines through in their performances, solidifying their on-screen chemistry. Although they spend large parts of the film separated, they each get their time to shine with a string of powerful solo musical numbers and character-defining scenes that make them both instantly relatable. However, when they reunite on screen, the reaction is explosive.
I cannot overstate the impact of this duo. Their chemistry is magnetic, and once they are reunited, sparks fly, enriching the film. Their duets are phenomenal, blurring the lines between their contrasting ideologies. Even their confrontational moments are light-hearted and alluring, with the clash in Munchkin Land being my pick of the bunch. The sequence is cinematic gold that will have the audience chuckling long after the credits have rolled. The sharp screenplay rewards them with several of these iconic moments, and they are a joy to watch.
JONATHAN BAILEY
Even Jonathan Bailey gets in on the action in the sequel and is afforded time to flesh out his character with way more depth than its predecessor. One of my biggest complaints about the first film was Fiyero Tigelaar’s criminal lack of depth. Despite Bailey’s solid performance, Fiyero’s arc was sorely undercooked, but thankfully, that wrong has been rectified in the sequel. Here, Fiyero serves as the conflicted glue that bonds Elphaba and Glinda together. He becomes the third pillar of the trifecta that becomes the backbone of the storyline, and that is reward enough. That said, sadly, his screen time is still limited and leaves us wanting more, but that is the hallmark of a great actor. Bailey’s magnetic energy mirrors his co-stars, and when he reunites with them, all three dazzle.
CO-STARS
Unfortunately, not all the film’s stars shine as brightly in this installment. Michelle Yeoh’s role as Madame Morrible is significantly limited compared to her integral part in the first film. In this sequel, she appears only briefly when the plot calls for her, making her contribution feel fleeting. On the other hand, Jeff Goldblum’s portrayal of the Wonderful Wizard of Oz stands out with a slightly larger role. He brings more depth to the character in this sequel and is rewarded with a characteristically quirky song-and-dance routine that left me chuckling.
In truth, the character deserved more time in the limelight after the first film, and when you cast a talent like Goldblum, you’d expect to utilize his abilities tenfold. Thankfully, Chu rewards him in kind here, and the actor can finally add a new string to his bow. The playful campiness of his character aligns perfectly with the film’s overall tone, making him one of the story’s standout elements.
CHARACTER ASSASSINATIONS
Adding to the film’s woes is the character assassination of the Tin Man. For those unfamiliar with the updated origin story, prepare for a surprise. In Judy Garland’s classic 1939 film, the Tin Man is portrayed as a gentle and kind character who lacks the heart to be cruel. However, in this new interpretation, the Tin Man has been reimagined as a vengeful figure seeking to avenge himself against the person who wronged him, making this shift in character quite jarring. These character assassinations were a major factor in my enjoyment of the first film, and the sequel suffers from the same flaws – and sadly, they don’t end here.
The film also suffers from a tedious trope of convenient storytelling. The film modifies much of the traditional core story’s timeline and tinkers with key elements to make room for additional scenes. In this version, Dorothy does not meet Elphaba in Munchkin Land, which is a crucial moment in the original story that sets her on her journey through Oz. Also, when Dorothy sets off, she quickly meets the Scarecrow in the fields surrounding Munchkin Land. However, in Wicked For Good, the Scarecrow isn’t erected in the field until long after Dorothy has left the area, which further erodes the continuity of the core story.
NO WINKY, NO HAPPY!
These abuses of the core story may not be as divisive for younger audiences, but for Oz purists, they will be perceived as a slap in the face of Victor Fleming’s landmark original film. Finally, rounding out my criticisms of the film is the alteration of Elphaba’s demise, and the lack of integral characters.
This version omits the Scarecrow, Tin Man, and the Cowardly Lion from the clash in Elphaba’s castle, and doesn’t feature a single Winky Guard. Again, Oz purists will be baffled by these glaring changes to the original story, and your enjoyment of the film will depend on how you interpret them. But for a traditionalist like me, they are jarring.
SONGS AND SCORE
Fortunately, the changes made to the story are tempered by the inspiring score and powerful new songs created for the film. Once again, John Powell and Stephen Schwartz have teamed up to produce a remarkable score that perfectly captures the elegance of Oz. Powell’s masterful soundscape, combined with the dynamic songs crafted by Schwartz, elevates the film to new heights and sets the stage for Grande and Erivo’s performances. Surpassing “Defying Gravity” would be an overwhelming challenge for many composers, but Schwartz has succeeded in outdoing his masterpiece with “No Good Deed,” and Erivo’s delivery is exhilarating to watch.
Grande manages to match the power of Erivo’s masterwork with “The Girl in the Bubble,” which bellows from the screen with glorious pink opulence. But it is when the duo comes together to send the film out on a high note with the tremendous “For Good” that the film’s crescendo is secured. These powerful songs and their superb custodians send us home with chills tingling down our spines as the songs’ power resonates through the audience – and that is the hallmark of a great musical.
VERDICT
Overall, Wicked For Good serves as a sensationally flawed climax to Jon M. Chu’s vision. While the film features exceptional performances from Cynthia Erivo and Ariana Grande, along with incredibly powerful songs by Stephen Schwartz, it ultimately suffers from the same flaws that detracted from the brilliance of the first film. From the quirky dialogue to the character inconsistencies to the erosion of the core story, the film seems determined to deliver a rousing finale—often at the expense of depth and respect for the characters’ origins.
While it may look and sound spectacular, the lack of depth is glaring, and while the film dazzles on the surface, it lacks the true lightning in a bottle to make the movie more than the sum of its parts. Ultimately, it offers a pleasant yet superficial journey down the Yellow Brick Road, which becomes less impressive the more closely you examine it. So, ignore its failings and enjoy the glorious performances that truly make the Emerald City shine.
We’re off to see the wizard!
Wicked For Good brings the magic of Oz to cinemas on November 21st.
Meet Phil Roberts! He’s the dedicated owner, daily content manager, and editor-in-chief of The Future of the Force. Phil is a budding novelist who turned his passion toward writing about the franchises he loves back in 2016. He’s a huge fan of all things Star Wars, Batman, DC, Marvel, Star Trek, Indiana Jones, Ghostbusters, King Kong, and the Ray Harryhausen movies. Phil is a BFI-accredited journalist and a distinguished member of the Film Critics Association UK.
If he’s not catching a movie at the cinema, you can bet he’s streaming something just as awesome!
