Wicked: For Good, the second half of the two-part film adaptation, arrives with a very specific challenge. Fans of the musical know this well: Act II has always been the weaker half.
After the big songs and grand moments of the first act, the story traditionally slows down, becomes more serious, and relies heavily on plot mechanics. The first film captured the excitement of Act I perfectly – this one has the harder job.
The result is a film that is often moving, consistently well-performed and visually impressive – but also, at times, uneven. While it delivers a proper ending to the story of Elphaba and Glinda, it also exposes the same structural issues the musical has carried for two decades.
More serious, more grounded
The shift in tone is noticeable from the start. Where the first film is bright, energetic and full of discovery, Wicked: For Good opens on a heavier note. Oz is less whimsical and more troubled. The stakes are clearer: Elphaba is an outlaw, Glinda is coming to terms with her public role, and the Wizard’s regime is tightening its grip.
This tonal change works in favour of the story, and director Jon M Chu focuses on character motivations and the emotional cost of the choices made in the earlier film.
The political tensions, which can feel rushed on stage, get more room to develop here: you understand what Elphaba is fighting against, having been banished from Oz, and why Glinda is torn between public perception and loyalty to her friend.
Despite facing more demanding character arcs in this installation, both Cynthia Erivo and Ariana Grande deliver exceptionally well.
Erivo plays Elphaba with restraint and clarity, and her vocals are powerful without being too showy. As in the first film, what stands out is her control – she communicates anger, disappointment and loneliness without tipping into melodrama. Her scenes in the woods, in particular, give Elphaba a sense of isolation that the stage version rarely conveys.
But it’s Grande who truly impresses. Her performance as Glinda is much stronger and more complex in Wicked: For Good. While the pop star still brings in the character’s bubbly charm, Grande is now confronted with material that leans into Glinda’s guilt, doubt and internal tension.
Chu makes use of Grande’s expressive face masterfully – the camera lingers just long enough to capture the shifts in her emotional state. It gives Glinda more depth and makes her eventual decisions feel earned.
Together, the pair carry the film. Whenever the pacing slows or the plot becomes overly dense, their dynamic keeps things engaging.
For me, one of the biggest questions was whether cinema could fix Act II’s reputation. The answer remains mixed.
Positively, the emotional beats are clearer. The film explains the political downfall of Oz more directly, and the relationships, especially between Glinda, Elphaba and Fiyero, are more developed. Several scenes that can feel rushed on stage have become easier to follow.
But the film still slows down noticeably in the middle. After a strong opening stretch, it begins to circle the same emotional points without much momentum. Some musical numbers, while well-performed, don’t significantly lift the energy. This is an issue audiences often have with the stage version, and the film only partly solves it.
The new songs are fine but not standout. They fill narrative gaps, but can’t quite compete with the Act I classics – which is more a reflection of the material itself rather than the adaptation.
Where the film succeeds
What cinema gives Wicked that the stage never could is room. Oz looks fuller and more textured – the Emerald City has a polished but uneasy shine, while the landscapes surrounding it feel harsher and more isolated. These visuals let the plot’s political themes settle more naturally.
The musical numbers benefit most from the cinematic medium. Particularly in No Good Deed, the tight shots and CGI-supported visuals make the scene sharper and more immediate than the stage version.
Most importantly, For Good, the titular song, sticks the proverbial landing. The song has always been a key emotional moment, but the film makes it even more intimate. The camera stays close, allowing the performances, particularly Grande’s shift between guilt and acceptance, to land more strongly. It’s restrained but affecting, and it becomes the emotional high point of the film.
Ultimately, Wicked: For Good is a thoughtful and well-crafted ending to the two-part adaptation. It doesn’t fix every issue embedded in the musical’s second act, but it improves emotional clarity and gives the characters more dimension.
It’s less engaging than the first film, but offers a meaningful and satisfying conclusion to one of musical theatre’s most enduring stories.
