Wicked: For Good Review - A Spellbinding Finale That Soars
Jon M. Chu’s Wicked duology reaches its conclusion in Wicked: For Good, and while this second chapter may not entirely match the audacious power of its predecessor, taken as a two-part whole, this is undeniably the most technically polished and emotionally resonant musical film of the decade thus far. The spectacle is grand, the performances are strong, and the friendship at the heart of the story remains its beating, emerald-green soul. But for all its craft, For Good sometimes feels like it's holding back – and in doing so, it undercuts some of the radical energy that made Part I feel so alive.
From a purely cinematic standpoint, Chu’s direction continues to dazzle. For Good feels like a movie that was lovingly overbuilt: the production design, cinematography, costuming, and visual effects are everywhere on display, and yet they seldom overpower the emotional narrative. There are moments of visceral grace – a long take of Glinda’s tear-streaked face, the swirling background of political upheaval in Oz, the choreography of large-scale ballads – and Chu balances his ambitions with enough restraint that the spectacle is never purely for show.
But this is not a show built just to impress; it’s built to feel. Cynthia Erivo returns as Elphaba, no longer just a fiery icon, but a woman deeply scarred by her past and hardened by her fight. In For Good, she is sharper, more cynical, and wiser – a character who has come to understand the realities behind power.
Opposite her is Ariana Grande as Glinda, sporting butterfly lashes and impossibly pale, platinum hair, looking every inch like she stepped out of a technicolor dream. Grande nails the part she was born to play: Glinda is both sincere and shallow, a princess of prettiness, and Grande’s performance leans into that duality masterfully. There are scenes of clownish humor, but also moments of fragile vulnerability, especially when she and Elphaba argue over the fate of Oz, and what “doing good” really means.
The emotional core of the film, as ever, is the relationship between Elphaba and Glinda. Their bond has been strained – loyalty and ideology pull them in opposite directions – but Chu’s script and his actors ensure that, though their methods differ, their devotion remains. In one elegantly staged moment, the two women sing from opposite sides of a wall, each revealing her fears, regrets, and longing. It’s the kind of quiet scene that could easily be lost in a film of this scale, but here, it lands.
That said, Wicked: For Good is not without its problems. As powerful as the metaphor of a political struggle in Oz can be, the second film softens much of the allegory that felt radical in Part I, taking its cues directly from the second act of the stage production itself. In the first film, the subtext felt urgent, even dangerous – now, some of that allegorical tension is muted, made safe by the very grandeur that once made it provocative. Vice director Adam McKay said last year that “On a pure storytelling level ‘Wicked: Part I’ is right up there as one of the most radical big studio Hollywood movies ever made.” But in Wicked’s second half, for all its spectacle, it perhaps balks at the full consequences of its own themes.
Musically, the film continues to shine – though the lack of a big showstopper like “Defying Gravity” is noticeable. Two new songs written for this chapter, “No Place Like Home” and “The Girl in the Bubble,” feel sincere and motivated, and when Wicked: For Good lands, it lands. The final duet, “For Good,” comes with surprising intimacy. The camera draws close; the performers abandon the grandness for a moment of fragile confession. There is gentleness in their voices and in their eyes, and the friendship they’ve built resonates deeply. It’s a reminder that this story isn’t just about witches or power – it is, at heart, about connection.
Certain character backstories are hinted at but underexplored. The political stakes, while visually epic, don’t always dig as deeply into their implications. And despite the production’s opulence, some emotional beats fail to land as strongly as they could, particularly when dealing with themes of oppression or of revolution against fascism.
Still, Wicked: For Good does something not many musicals can: it embraces its flaws without apology. It doesn’t run from its sentimental moments or its political ambition, even when they conflict. Director Chu’s love for this world, and his reverence for Elphaba and Glinda’s story, is pervasive. Whether you believe the allegory lands or think some punches were pulled, you cannot deny the care with which this film was made.
Wicked is a two-parter that invites repeat viewing. Because in those quieter corners – the duets, the heartbreak – there is something to be discovered, something that lingers. And for all the dazzling costumes, the swirling mists, and the sweeping camera work, For Good’s most lasting spell is cast in the friendships at its core.
In the end, Wicked: For Good is not flawless. The narrative framework established by the stage musical may cause it to pull back on its own political edge, and its newer songs may not match the timelessness of “Defying Gravity,” but it remains a grand, heartfelt conclusion to the most wildly ambitious and effective musical film we’ve seen in years. It is a film about power and rebellion, yes – but above all, about empathy, forgiveness, and the kind of friendship that changes everything for good.