REVIEW: “Wicked: For Good” (2025)

(Courtesy IMDb) 

The big screen adaptation of Gregory Maguire’s literary revisionist take on L. Frank Bain’s The Wonderful Wizard of Oz, as well as the Broadway smash that it inspired, was such a cultural phenomenon last year. But remember, that was only Act I. After a year-long “intermission,” the anticipated second half, now known as Wicked: For Good, arrives in theatres this holiday season, likely to bring audiences (both young and old) in droves. However, viewers may not be prepared for what’s in store, as far as the concluding arcs of Elphaba, Glinda, and the citizens of Oz are concerned. 

Elphaba and Glinda (Cynthia Erivo and Ariana Grande, respectively) have gone their separate ways, with the former declared/labeled an enemy of Oz while the latter is forced to play the heroine (and representative for hope), even though she can’t produce any actual magic herself—unlike her former schoolmate. Amid themes of gaslighting and corruption, as well as personal, emotional, political and ethical conflicts (including prejudice against animals and other characters), Elphaba fights for what she believes is right. Yet, she is misguided in her own quest to expose the Wizard (Jeff Goldblum) as a fraud and to free the animals that have been taken captive and/or condemned. She even asks herself, during critical moments, “Was I seeking good or just attention?” “Why do I love this place that never loved me?” (That’s a good question.) 

In fact, there are misguided quests and motivations on both sides of the central conflict. Ditto multiple love triangles, including those from the perspectives of munchkin Baq (Ethan Slater) and Elphaba’s newly-appointed Governor sister Nessa (Marissa Bode). But it’s Prince Fiyero (Jonathan Bailey) who is the most conflicted and convicted, especially with a staged engagement with Glinda, which creates a lot of complexity in and of itself. 

The scale of this cinematic chapter, while epic and grand, feels small compared to the first film. Sure, there are jaw-dropping effects (both visual and visceral), roller coaster action, suspense, and drama, aided by a powerful score (courtesy Stephen Schwartz and John Powell). This is a much more character-driven story with strong arcs amid all the spectacle. Glinda proves to be just as compelling and surprising, revealing unexpected layers and growth, going from pride and popularity to harsh reality, compassion, and confidence. It’s a profound, even beautiful, journey about valuing others and seeing the good in them and what they mean to others. “We can’t let ‘good’ be just a word,” Elphaba tells her, “It has to mean something.” Well spoken. Both Erivo and Grande are emotionally heavy and vulnerable. You’ll need Kleenexes for the titular number. 

But make no mistake. Wicked: For Good is a darker, more melancholic, sobering and bittersweet story. While Part I was lighthearted and bubbly by comparison, Part II is heartbreaking and tragic. Not to say there are amazing moments (there are many) and fun set pieces, such as the curiously-cheerful “Wonderful” number. It’s also clever how they incorporate the Yellow Brick Road, the iconic ruby slippers, poppy fields, and Glinda’s floating bubble. Ditto the unforgettable quote, “There’s no place like home.” On the other hand, this cinematic outing takes liberties with its source material. Homages to The Wizard of Oz may likely polarize some viewers, in terms of how they bring Dorothy, the Scarecrow, the Tin Man, and the Cowardly Lion (voiced by Colmon Domingo) into the picture. Ditto a few other startling revelations. 

Arguably the first two-film arc since the screen adaptation of Stephen King’s It (from 2017 and 2019, respectively), Wicked: For Good doesn’t soar to the same lengths as its predecessor. It may suggest a sense of freedom and restoration, with visual metaphors (i.e., rainbows) implying something better ahead. It also pushes its stamped PG-rating with a suggestive subplot between Elphaba and Fiyero (a key reason the movie should’ve been PG-13 a la subsequent Harry Potter installments). But it has its moments. Although, I can only imagine if audiences will feel more enlightened or more depressed after seeing this movie.