An addendum, an epilogue, an end credits scene, or a footnote, Wicked: For Good could’ve been anything but a full-length feature film. A year after the cultural phenomenon that was Wicked comes the long-awaited conclusion. You’ll have to accept my condolences; this film was pronounced dead on arrival.
Cynthia Erivo’s (Elphaba the Wicked Witch of the West) and Ariana Grande’s (Glinda the Good) intense chemistry and unwavering commitment to the material remain the only source of stability in a film that flails, flounders, and flops about in a sea of mediocrity. Alas, therein lies the problem: the source material is shaky at best and a complete nothingburger at worst. An already thin plot is stretched beyond its limits to fill the 2 hours and 17 minutes runtime. In Wicked: For Good, the wonder and whimsy found in the first film are swapped for a more serious and broody tone.
Understandably so, our characters have left the safety of Shiz University and are full-fledged adults battling a fascist regime whilst navigating their own complex personal lives. On paper it’s a story that should easily evoke pathos, but in practice the film is too preoccupied with tie-ins, Easter eggs, and cheeky nods to iconic IP to give our capable leads something to sink their teeth into. The supporting cast gobbles up what little meaningful material there is, most notably, Ethan Slater as Boq and later the Tin Man. Ultimately, the scarcity of emotional gravitas does Erivo and Grande a great disservice. Despite it all the pair defy the odds, managing to do the best they can with what they’ve been given.
When it comes to direction, Wicked: For Good suffers from the same ailments as its predecessor: uninspired cinematography and run-of-the-mill camerawork. This time around death by edit can be added to the postmortem. The sequel is rife with harsh cuts that don’t let the few emotionally charged moments breathe and is marred by perplexing pacing. In an interview with Gold Derby, director Jon M. Chu noted how challenging the editing process was. Suffice to say, the challenge was not met. To label the first act as oddly paced is an understatement. Paradoxical is a more apt description. There’s too much happening yet very little at the same time.
Fortunately, the film does find its footing by the second act, but it never ascends to the heights of Wicked. “No Good Deed” and “The Girl in the Bubble” are the standout sequences in what can only be described as a rather dull affair. Now and again flashes of brilliance are bestowed upon us. They take the form of highly technical camera tricks involving mirrors and a lingering shot on a dewy tulip. Like Elphaba’s visions, perhaps they were nothing more than glimpses into an alternate universe in which this was a good movie.
It’s not all “horrendible,” as the Ozians would say. Academy Award-winning costume designer Paul Tazewell has managed to outdo himself. The level of detail paid to every costume, whether they were worn by a principal or background actor, is astounding. The vibrancy and construction of these elaborate garments are the lifeblood of an anemic story. Wicked: For Good doesn’t defy gravity but instead remains firmly planted on the ground, tripping and stumbling along the way.