{"id":10042703,"date":"2025-11-21T10:08:18","date_gmt":"2025-11-21T15:08:18","guid":{"rendered":"https:\/\/vanyaland.com\/?p=10042703"},"modified":"2025-11-21T10:08:18","modified_gmt":"2025-11-21T15:08:18","slug":"wicked-for-good-review-it-isnt-easy-being-green","status":"publish","type":"post","link":"https:\/\/vanyaland.com\/2025\/11\/21\/wicked-for-good-review-it-isnt-easy-being-green\/","title":{"rendered":"‘Wicked: For Good’ Review: It isn’t easy being green"},"content":{"rendered":"\n

A year and a few hundred million dollars later, John M. Chu\u2019s adaptation of the Broadway musical Wicked<\/em>, itself an adaptation of the Gregory Maguire novel of the same name, which in turn was a revisionist reinterpretation of characters from The Wizard of Oz<\/em> (both L. Frank Baum\u2019s children\u2019s fable and the 1939 movie), has come to its curtain call. Somehow, it\u2019s even more culturally omnipresent than it was last time around \u2014 brand collabs, tie-in merchandise, (apparently decent-tasting) Skittles \u2014 but I have a hard time believing that Wicked: For Good<\/em><\/strong> will capture the hearts and minds of its intended audience in the same way its predecessor did, even with all the eye-catching bells and whistles reminding them to head to the theater. It retains all of the problems of the first one \u2014 aside from my overall issues with the work\u2019s ethos, Chu still insists on directing it as if he were making a Marvel musical \u2014 while adding new ones, with the most prominent being its terminal case of prequel-itis* and<\/em> the fact that, well, the second act was always kind of a letdown.<\/p>\n\n\n\n

Wicked: Part One<\/em> benefited from this division, as it tells a complete story and ends on the sole unambiguous showstopper penned by Schwartz and Holzman. The superhero-like aesthetic made a certain amount of sense there, given that it depicted the origins of our anti-hero, the witch Elphaba (Cynthia Erivo), as if she were waiting for her cue to go on stage for Eternals 2<\/em>. She has an arc, going from a discriminated-against young woman attending her first year at school to a powerful magic-wielder with a vendetta against the charlatan \u201cWizard\u201d Oz (Jeff Goldblum), who just so happens to be her dad. She struggles, finds love, makes a best friend in Glinda (Ariana Grande), a fellow witch who can\u2019t actually use magic but is universally well-liked, and finds a purpose <\/em>in her opposition to Oz\u2019s rule, which has a particular issue with talking animals for some reason. At 150 minutes, one could already see the metaphorical buttons popping off of the narrative\u2019s shirt, but any complaints from the crowd went out the window once the high notes of \u201cDefying Gravity\u201d shattered movie-poster displays in the lobby. It ends well, with Elphaba mounting the Batpod after falling alongside the now-dead Harvey Dent, speeding off down the highways under police pursuit into an unknown future. Or something like that.<\/p>\n\n\n\n

Oddly enough, the sequel gives one plenty of room to keep making superhero jokes, and essentially ends in a similar fashion to the first, though the fact that its third act unfolds simultaneously with The Wizard of Oz<\/em> ensures that the primary conflict is resolved. It starts with Elphaba conducting a daytime raid on a construction site, where enslaved animals are forced to complete construction on the Yellow Brick Road. Chu\u2019s language is that of Snyder\u2019s Man of Steel<\/em>, with particular emphasis placed on a shot taken from a close POV to one of the convoy\u2019s guards \u2014 Elphaba, floating in the air, dress flowing like a cape, seeming alien and powerful to those below her. It\u2019s a bizarre<\/em> choice, but it\u2019s one that Chu keeps going back to, including several scenes in which he directly echoes the \u201cdisappearing Batman act\u201d on the rooftops and terraces of the Emerald City, and a finale in which some enterprising creator could make a YouTube hit dubbing Erivo\u2019s dialogue in Bale\u2019s husky growl. It makes sense \u2014 she\u2019s a black-clad vigilante who isn\u2019t exactly buddy-buddy with the regime \u2014 but it\u2019s just odd that he chose that language over, say, epic fantasy or, god forbid, the cinematic musical. Worse, it\u2019s a choice that amplifies the already-dour tone of this second act.<\/p>\n\n\n\n

I don\u2019t mean \u201cmelancholic,\u201d a word that could accurately describe the feelings of longing and dissatisfaction, which eventually give way to a deep homesickness, at the core of Fleming\u2019s Wizard of Oz<\/em>. In Chu\u2019s hands, this fairy tale stuff is serious business, which robs the fantastical elements of their whimsy. The chief exception to this is Goldblum\u2019s number, \u201cWonderful,\u201d which allows him to continue the vaudevillian stylings he so delightfully displayed in the first film\u2019s final section \u2014 his humor is on-point, his choreography full of silly little magic tricks and gadgets, and he has a solid rapport with Grande and Erivo, both of whom are incredibly talented performers chafing against the rigidity of their roles and Chu\u2019s direction. It\u2019s telling that the director\u2019s constantly-in-motion camera pauses when it\u2019s focused on Grande, taking time to frame her in a way that suggests that a) he knows he\u2019s working with someone special and b) her contract was tight enough to ensure he\u2019d have to put her in a good light. It\u2019s her scenes that have a relative amount of intimacy to them \u2014 a feel he couldn\u2019t give to \u201cAs Long as You\u2019re Mine,\u201d a number in which Erivo and co-star Jonathan Bailey, playing the soon-to-be Scarecrow Figaro, are about to be intimate<\/em> with one another. She (and we<\/em>) can\u2019t savor this moment, especially since this is the last time he\u2019ll have skin that isn\u2019t made of burlap.<\/p>\n\n\n\n

Wicked <\/em>has always dovetailed too cleanly into The Wizard of Oz<\/em>, with its supporting cast transmogrified into Dorothy\u2019s companions or opponents over the first half of this film. Elphaba\u2019s sister (Marissa Bode), now the totalitarian governor of Munchkinland, pronounces herself \u201cThe Wicked Witch of the East\u201d after a failed magical attempt to make her subordinate, Boq (SpongeBob), fall in love with her. After she flees in a panic, it\u2019s up to our other witch to heal his\u2026 broken heart. She does this by making him into \u2014 you guessed it \u2014 the Tin Man. I could go on and on providing examples of this, but the point is that its symmetry isn\u2019t exactly clever. It makes a fantastical world like Oz into something strangely smaller than Sesame Street<\/em>. Surely a Tin Man or a Scarecrow or a cowardly Lion (apparently voiced by Colman Domingo, though I can\u2019t recall a line of his dialogue) could be of importance without Elphaba\u2019s direct intervention? Again, this is more of an issue with its source than anything in Chu\u2019s adaptation, so I\u2019ll get back to properly placing the blame: any time he gets close to a direct visual echo of Fleming in his visions of these characters, got-damn<\/em> is it’s funny how poorly done it is<\/p>\n\n\n\n

More precisely, it would be scary if it weren\u2019t so ridiculous \u2014 for instance, the Tin Man here is the stuff of nightmares. He\u2019s a hybrid CGI\/practical VFX monster who is unintentionally laugh-out-loud funny when he makes his dramatic first appearance, revealed to the world in a more dramatic fashion than del Toro did with the Creature in his Frankenstein<\/em>. SpongeBob may have experience in the make-up chair, but my god, is his face poorly-suited for this particular shade of silver, bells, and whistles and all. It only grows in ridiculousness from there \u2014 he gets steamy heartburn when he\u2019s riled up, such as when he\u2019s trying to lead the residents of the Emerald City on a would-be hunt to annihilate the Witch***. <\/p>\n\n\n\n

The Scarecrow isn\u2019t much better, as he\u2019s an entirely CGI creation that, despite all of the advancements in facial mo-cap, still might have been more appealing if they\u2019d just used make-up. The animals are strange and stilted digital creatures, the backgrounds standard green-screen digital landscapes, the Flying Monkeys an unsettling compromise between Caesar from the modern Planet of the Apes <\/em>films and the General from Tim Burton\u2019s vision of the same source. If the choice was between aping iconography outright or embracing the edge of its revisionist ancestor (Return to Oz<\/em>), he chose to make it functionally lifeless. If Oz is the kind of place where one could theoretically break into song at any moment and not have it seem out of place, a technicolor wonderland liberated from the dull brown of Dust Bowl Kansas, it should disappoint us that our fantasies have come to reflect the drabness of home.<\/p>\n\n\n\n

This is what poorly rendered revisionist works do. Unless they supply their own iconography and further complicate the myth by deconstructing it (see: Leone, Sergio or Corbucci, Sergio), they come up short compared to their inspiration. I get that a comparison to the Italian masters who perfected the neo-Western is perhaps an unfair one, given that they were working with the language and iconography of an entire genre, but the point stands. One has to do something transformative<\/em> with the story in order for it to sustain itself as a living, breathing work on its own merits. As a stage-bound spectacle, Wicked<\/em> had the benefit of being live entertainment, with a solid modern score, ascendant performers hitting the high notes, master craftsmen building the sets and designing the costumes, and \u2013 this is important \u2013 a three-hour runtime. Audiences responded to it for a number of reasons, but it would be dishonest to state that the appeal didn\u2019t come from the fact that you had the land of Oz, Emerald City and Yellow Brick Road and all, embodied physically; a unique aspect neither Baum nor Maguire\u2019s books nor Fleming\u2019s film possessed. Moving the musical to the screen gave up its home-field advantage \u2013 is it any surprise that it couldn\u2019t take home a championship?<\/p>\n\n\n\n

Weirdly, splitting the story up might have given the Wicked <\/em>films a more lasting effect than a straight single-film adaptation would have. This is entirely because you can feel free to totally ignore<\/em> the second installment and just watch the first one instead, should you ever feel the need to revisit this story, much like how some nerds claim you should skip Phantom Menace <\/em>and Attack of the Clones<\/em> when rewatching the Star Wars<\/em> films. I stand by a claim I made last year to a reader who asked whether that review was positive: Wicked: Part One<\/em> is a good adaptation of a musical I don\u2019t particularly like****. <\/p>\n\n\n\n

On the other hand, For Good <\/em>is the worst of both worlds, with the flaws inherent in its source amplified by the drabness and dourness of Chu\u2019s capitulation to modern blockbuster stylings. Try as I might after the first thirty minutes, clicking my heels together didn\u2019t bring me home any faster, no matter how much I wanted to leave the theater.<\/p>\n\n\n\n

* One could call it \u201cLucas Syndrome,\u201d in which all things have to be explained and come together in the most roundabout way.<\/em><\/p>\n\n\n\n

** I had a lot of fun imagining Ariana Grande sitting down for a nice shot of Munchkin Fernet-Branca, only to see a made-up Cynthia Erivo and the Scarecrow flash her a brief smile.<\/em><\/p>\n\n\n\n

*** This segment is made more absurd in its final moments \u2014 the final shot of this scene sees the traditional foursome move off onto the Yellow Brick Road as the city-dwellers stand at the gate, waiting with their propaganda placards, hastily-assembled torches, and pitchforks, all dressed up with nowhere to go.<\/em><\/p>\n\n\n\n

**** As to why I didn\u2019t cover the faux-reactionary politics of this film, I\u2019ll point you to that review<\/a>, in which I said everything I think I needed to there, given that it applies to both installments.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

A year and a few hundred million dollars later, John M. Chu\u2019s adaptation of the Broadway musical Wicked, itself an adaptation of the Gregory Maguire novel of the same name, which in turn was a revisionist reinterpretation of characters from The Wizard of Oz (both L. Frank Baum\u2019s children\u2019s fable and the 1939 movie), has come to its curtain call. Somehow, it\u2019s even more culturally omnipresent than it was last time around \u2014 brand collabs, tie-in merchandise, (apparently decent-tasting) Skittles […]<\/p>\n","protected":false},"author":48,"featured_media":10042704,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[19452],"tags":[7907,21930,20180,26409,24217,36013,34338,36012],"class_list":["post-10042703","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-filmtv","tag-ariana-grande","tag-bad-movies","tag-film-review","tag-header","tag-musicals","tag-spongebob","tag-wicked","tag-wicked-for-good"],"yoast_head":"\n'Wicked: For Good' Review: It isn't easy being green<\/title>\n<meta name=\"description\" content=\"John M. 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