mlwbd movie reviews: Wicked: For Good Review – Oz Revisited, With Glum Glamour

In a cinematic landscape dominated by superhero spectacles, reboots, and streaming-service adaptations, musicals occupy a peculiar niche. They are vibrant, theatrical, often extravagant, yet increasingly viewed as niche commodities in a box-office ecosystem that prizes franchise familiarity over Broadway spectacle. Against this backdrop, Jon M. Chu’s Wicked, released last year, was nothing short of a revelation. Chu, whose work on In The Heights and the Step Up franchise honed his ability to marry kinetic energy with visual flair, transformed the comparatively minimalist Broadway show into a maximalist, technicolor, musical feast. Boasting an ensemble cast including Cynthia Erivo as Elphaba, Ariana Grande as Glinda, and Jonathan Bailey as Fiyero, it defied skeptics, critics, and audiences alike to deliver one of the most lavish stage-to-screen translations in recent memory.

Now, the saga continues with Wicked: For Good, the second installment filmed concurrently with the first, bringing the story to its intended conclusion. After a 12-month cinematic “intermission,” audiences return to Oz, only to find a land still magical but undeniably darker, more politically charged, and less effervescent than the whimsical spectacle that opened the door last year.

Setting the Scene: Oz After the First Film

In Wicked: For Good, Chu resumes the story several years after the original narrative. Glinda (Grande) has ascended to prominence, now both a celebrity figurehead and a spiritual leader of Oz, revered by its citizens for her charisma, charm, and highly publicized romance with Fiyero (Bailey). Their relationship is carefully orchestrated by Madame Morrible (Michelle Yeoh), who manages Glinda’s public image with the precision of a political campaign manager, while the Wizard himself (Jeff Goldblum) seems more interested in model trains than the authoritarian veneer of his rule.

Meanwhile, Elphaba (Erivo) has become persona non grata. Once celebrated—or at least misunderstood—she is now an enemy of the state, attempting to disrupt an authoritarian propaganda machine while simultaneously advocating for animal rights. Her battles are aerial guerrilla-style assaults on Oz’s infrastructure, particularly the sprawling “yellow-brick” construction projects that evoke the M25 motorway if it had been built by enchanted creatures. This layered narrative immediately signals a tonal shift from the peppy exuberance of the first film to something more somber, politically reflective, and emotionally fraught.

Tonal Shifts and the Challenges of the Sequel

A central issue with Wicked: For Good lies in its tonal recalibration. The first film thrived on buoyancy, humor, and spectacle. Here, however, Chu opts for a darker, more reflective mood. Characters who once exuded charm and energy are now subdued, introspective, or outright glum. Grande’s Glinda trades hair-swishing and playful mischief for a more somber and politically aware persona. Bailey’s Fiyero, rather than serving as a flirtatious foil, becomes brooding and introspective. Erivo’s Elphaba, the powerhouse of the first installment, navigates the narrative in the throes of what appears to be a full-scale emotional breakdown, grappling with both external threats and the weight of her moral mission.

Even secondary characters undergo dramatic shifts. Nessarose (Marissa Bode), who previously oscillated between sympathetic and comic, now undertakes an abrupt moral transformation reminiscent of Daenerys Targaryen’s controversial arc in Game of Thrones, driven entirely by unrequited love for a Munchkin. While ambitious, these choices limit moments of levity, making the film feel heavier and less joyous than its predecessor.

This tonal shift is compounded by the musical numbers themselves. The first film featured Broadway-caliber songs that soared both emotionally and melodically, with numbers like Defying Gravity delivering both spectacle and narrative payoff. Wicked: For Good struggles to replicate that dynamism. While No Good Deed stands out as a belter that allows Erivo to showcase her extraordinary vocal range—complete with the visual thrill of flying sequences—there are no equivalents to the first film’s show-stopping moments. Newly written songs, though lyrically timely and politically resonant (“Why do I love this place that doesn’t love me?”), often decelerate the pacing and cannot match the sheer spectacle of the earlier numbers.

Performances: Talent Anchoring the Magic

Despite tonal challenges, the cast remains one of the film’s greatest strengths. Cynthia Erivo continues to anchor the narrative as Elphaba, delivering a performance that balances vocal virtuosity with emotional vulnerability. Her portrayal of a politically ostracized heroine fighting both systemic oppression and personal despair is compelling, even when the material around her is less kinetic than in the first installment.

Ariana Grande’s Glinda offers a more subdued interpretation, embodying a character who has transitioned from youthful exuberance to a figure of political influence. Grande’s performance, though less playful, demonstrates a capacity for emotional nuance, portraying Glinda’s inner conflicts between duty, public expectation, and personal morality.

Jonathan Bailey’s Fiyero, meanwhile, moves from romantic charm to brooding introspection, a tonal pivot that will likely divide audiences. While some may appreciate the depth and maturation, others may miss the mischievous, flirtatious energy of the first film. Michelle Yeoh, as always, brings gravitas to Madame Morrible, whose strategic machinations add layers of intrigue and tension, while Jeff Goldblum delights in his idiosyncratic interpretation of the Wizard, often appearing to act as if in his own whimsical, self-contained world.

The supporting cast is no less effective. Marissa Bode’s Nessarose, though polarizing in her narrative choices, provides moments of dramatic tension, and the ensemble’s collective energy ensures that the world of Oz remains populated with vitality, even as the narrative leans into darkness.

Narrative Complexity and the Challenges of Parallel Storylines

Wicked: For Good grapples with a structural challenge inherent in the Wicked narrative: balancing the alternate history of Elphaba and Glinda with the original Oz story. Dorothy’s arrival is signposted but her face is never revealed, a theatrical gag that works on stage but feels coy and awkward on film. Key sequences from Baum’s classic are omitted, presumably to avoid redundancy or infringing on the cultural touchstones of The Wizard of Oz. While understandable, this choice sometimes results in a pacing imbalance: the story feels slow in its reflection and rushed in moments that demand climactic resolution.

Yet there are narrative rewards. The origin stories of the Tin Man and the Scarecrow are visually inventive, played with a blend of surreal horror and whimsy, offering audiences a chance to engage with the darker, more introspective elements of the Oz mythos. Chu’s adaptation manages to honor the spirit of Gregory Maguire’s book and Stephen Schwartz’s musical, reframing Oz through a political, emotionally potent lens without entirely losing the fantastical charm audiences expect.

Visuals and Cinematic Flourishes

Chu’s signature visual style is evident throughout. The film opens with a sensory overload of pageantry, choreography, and pyrotechnics that immediately establishes a kinetic energy, recalling a psychedelic Emerald City nightclub in its maximalism. These sequences are dazzling, filled with inventive camera work, elaborate costuming, and CGI-enhanced spectacle.

As the story progresses and the tone darkens, Chu adjusts his visual approach accordingly. Scenes featuring political machinations, character introspection, or Elphaba’s clandestine operations employ tighter framing, subdued palettes, and slower camera movements, reflecting the narrative’s gravitas. The contrast between the explosive pageantry of the opening and the more restrained middle sequences highlights Chu’s directorial versatility, even if it occasionally contributes to uneven pacing.

Musical sequences remain the visual heart of the film. While the new songs may lack the immediate memorability of the first installment’s hits, the staging, choreography, and use of CGI flying sequences maintain the cinematic spectacle that differentiates the film from both stage productions and conventional musical adaptations.

Themes and Subtext: Power, Politics, and Activism

One of the strengths of Wicked: For Good lies in its thematic ambition. Beyond the visual spectacle and musical numbers, the film engages with issues of power, propaganda, and political manipulation. Glinda’s celebrity status, carefully curated by Madame Morrible, serves as a commentary on modern politics and media spin, while Elphaba’s rebellion underscores the ethical responsibilities of individuals confronting authoritarian systems.

Animal rights, environmental protection, and social justice emerge as recurring motifs, cleverly integrated into the whimsical framework of Oz. While presented in a fantastical context, these themes resonate with contemporary audiences, inviting reflection on leadership, civil disobedience, and moral courage. The balance between spectacle and message is delicate, and while the film does not always maintain it perfectly, the ambition is commendable.

Audience Reception and Accessibility

Wicked: For Good will likely generate mixed reactions. Fans of the original musical and Chu’s cinematic adaptation may appreciate the deeper exploration of Oz’s political landscape and character development, while casual viewers or those expecting the unrelenting joy of the first film may find the sequel slower and less immediately gratifying.

The tonal shift, combined with fewer show-stopping songs, may also challenge audience expectations. Yet for viewers willing to engage with its darker humor, political subtext, and character-focused drama, the film rewards patience with moments of vocal brilliance, visual creativity, and emotional resonance.

Conclusion: Not Quite Wicked: For Great, but Still Magical

Wicked: For Good does not surpass its predecessor in terms of spectacle, musical dynamism, or sheer joy, yet it achieves a different kind of success. The film deepens character arcs, explores political themes, and offers new narrative insights into the world of Oz. While less effervescent and more glum than the first installment, it maintains enough visual flair, musical talent, and thematic ambition to justify its place in the cinematic adaptation of this beloved franchise.

Erivo’s Elphaba, Grande’s Glinda, and the supporting ensemble deliver performances that anchor the film’s more introspective moments, while Chu’s direction ensures that even the slower sequences retain visual and emotional interest. Although it lacks a definitive show-stopper like Defying Gravity, it offers new musical and narrative experiences that expand the world of Oz in meaningful ways.

In short, Wicked: For Good may not be “Wicked: For Great,” but it is a worthy continuation of a bold, colorful, and politically resonant cinematic universe. Fans of musicals, fantasy, and thoughtful adaptations will find much to admire, even as they navigate the darker corridors of Oz’s Emerald City.

Verdict: ★★★★☆
A visually inventive, musically competent, and thematically ambitious sequel that deepens the Oz mythology while sacrificing some of the effervescent joy of its predecessor.