Wicked: For Good (2025)

Here we are, it's the end point for a fantastical tale, the end point for a fervent fandom, and the end point (or maybe just a pause) on a friendship that we've seen blossom both onscreen and off. Everyone seemed to be keeping their expectations in check for the release of Wicked: For Good, and that caution was justified, considering the general consensus of the first half ending on such an unsurpassable high point with "Defying Gravity".

We join the action almost where we left off at the end of the first movie. Elphaba (Cynthia Erivo) is leaning fully into her "Wicked Witch" image as she attempts to get people to see what a fraud The Wonderful Wizard Of Oz (Jeff Goldblum) really is. Glinda (Ariana Grande) remains an ally to the Wizard, being used by both him and Madame Morrible (Michelle Yeoh) to feed a specific narrative to the people of Oz. Despite this, however, Glinda secretly remains a friend to Elphaba, although that looks set to come to an end when Fiyero (Jonathan Bailey) confesses that he is in love with Elphaba. Meanwhile, Elphaba's sister, Nessarose (Marissa Bode) has taken on a role in politics that sees her at odds with her sibling, but also allows her to put rules and restrictions in place to keep Boq (Ethan Slater) close to her. Big changes seem to be inevitable, and it may be in the shape of a tornado-relocated house.

If you liked the first instalment of this epic tale of friendship, betrayal, and yellow road-building materials then you're unlikely to be disappointed by this. Filming both films concurrently allows for an easy continuity and consistency from writers Winnie Holzman and Dana Fox, as well as director Jon M. Chu. Everyone knew what a hot property this was, but the dream pairing of Erivo and Grande managed to somehow take everything to another level (as much to do with their wonderful press tour moments that went viral as to do with their superb onscreen work). While the visuals can sometimes appear a bit too busy and bright, it's all in line with the vision of a land shaped and manipulated by a charlatan looking to distract and placate the people who look up to him. Would I have liked some more inventive staging and choreography with some of the musical numbers? Absolutely, but there's also a satisfaction to be moved by the simple emotion and powerful voices of the leads when singing the likes of "For Good" and "No Good Deed". And at least both "Wonderful" and "The Girl In The Bubble" try to make up for things with a great selection of tricks and flourishes.

I feel as if I've already said everything I needed to say about Erivo, Grande, Goldblum, and Yeoh, as well as Bailey. They all deliver performances here that are in line with their performances from the first film, although arguably a bit better while freed from having to do all of the establishing scenes that brought them all together. Bode and Slater definitely have a bit more to do, in terms of how their characters affect the main storyline anyway, and it's a good decision to show us fleeting glimpses of a never-fully-visible Dorothy that we can continue to imagine is the iconic Judy Garland version of the character. 

This was very enjoyable, especially if you're already familiar with other Oz tales, the Gregory Maguire novel, and the live stage show. Watching the pieces come together in time for the expected finale is a delight, although, as mentioned at the very start of this review, the film can't ever reach the heights that were reached in the first instalment. Die-hard fans can probably add a point or two to my own rating, and I can only imagine the many themed singalong evenings and fancy-dress parties being planned now that this has hit home viewing platforms. I might even plan my own mega Oz-a-thon one day soon. I have tended to love every cinematic adventure set in this world.

7/10

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Wicked (2024)

I am fortunate to have seen the musical Wicked live on stage in Edinburgh. It's one of those musicals that almost everyone has seen nowadays, or so it seems, but there's also a prohibitive price element to live musical theatre that makes any major movie adaptation an appealing option to those unable to afford the time and money of a big trip to a live show. I'm not making any major complaint here, by the way, but just putting forward a reason why this film would seem like such a great idea in the first place. You have a built-in fanbase and you have a whole group of people who may be converted into fans once they finally get the chance to experience it.

Cynthia Erivo plays Elphaba, a young Oz resident with green skin who has a natural talent for magic. That puts her on a path that will one day lead to her being known as the Wicked Witch Of The West, of course, but we end up seeing the start of her main journey at Shiz University, where she ends up sharing a room with the vain and slightly ditzy Galinda/Glinda (Ariana Grande). Elphaba also has a wheelchair-bound sister (Nessarose, played by Marissa Bode) that she cares about more than anyone else in her immediate vicinity, although she soon starts enjoying her time being privately tutored by Madame Morrible (Michelle Yeoh). She's doing so well that she may end up actually gaining an audience with The Wonderful Wizard Of Oz (Jeff Goldblum). There's also an anthropomorphic goat (Dr. Dillamond, voiced by Peter Dinklage) teaching history classes, a young man who thinks life is better for those who don't bother applying themselves to their studies (Fiyero, played by Jonathan Bailey), and a munchkin (Boq, played by Ethan Slater) who finds himself spending time with Nessarose for the sake of impressing Galinda.

Written by Winnie Holzman and Dana Fox, adapting the book by Holzman (with music by John Powell and Stephen Schwartz, the latter having written the music and lyrics for the stage version), itself adapted from the book by Gregory Maguire, stemming from the evergreen classic fantasy tale from L. Frank Baum, Wicked is helped by a great blend of wit, earnestness, and eye-catching choreography that allows everything to gather momentum on the way to a final act that makes the film feel much shorter than the 160-minute runtime. Director Jon M. Chu is also a valuable asset, and this is a reminder of just how many times he has done excellent work with major song and dance elements, either in his features or in his many music videos. It's a shame that I don't have time to list off every other main contributor though, because this has great care and attention to detail running throughout every scene, from the gorgeous costuming and accessories to the sets, the shot choices and framing, the makeup, and so much more.

Then we have the cast. Erivo has been a huge talent to keep an eye on for some time now, which makes it no surprise that she's such a great choice for her role. Grande, on the other hand, is making a huge leap here, but she does absolutely fantastic work for every minute that she's onscreen. Obviously able to handle the singing and dancing, she shows a great knack for playing the naïveté and comedy of her character. Bailey also provides a good bit of comedy, as well as obvious complications when everyone starts having feelings that aren't necessarily reciprocated, while both Bode and Slater try to do their best in characters that may yet become more important before the full tale is told. Because, yes, it's good to remember that this is only the first of a two-parter. Dinklage does his Game Of Thrones voice well, with a layering of goat noises, Goldblum is a perfect choice for the charming charlatan that is the Wizard, Yeoh is her usual regal and imposing greatness, and there are very satisfying, and unobtrusive, cameos from Idina Menzel and Kristin Chenoweth (AKA Elphaba Prime and Glinda Prime).

I was worried during the opening scenes, struggling to remember how the stage musical began and when I might recognise a memorable song, but things improved massively once the opening titles came up. The characters start to interact in fun and interesting ways, and the music really starts to have the desired effect by the time our leads belt out "What Is This Feeling?" Other highlights include "Dancing Through Life", "Popular", "One Short Day", and, of course, "Defying Gravity". Not every number is great, but the better ones more than make up for those that don't quite hit the highest heights.

I put this viewing off for far too long. I won't be making that mistake when part two is released. This is a very rewarding and rewatchable musical treat. Fans of all things Oz-related should find plenty to enjoy, and newcomers should also end up being won over as they watch the familiar story of a young woman being villainised simply for refusing to be passive and controlled. There is wickedness on display here, but it doesn't come from who might be the most likely candidate in your own preconceptions.

8/10

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The Lost City (2022)

To use the simplest shorthand available, The Lost City is, in some ways, an updated version of Romancing The Stone. It has a few tweaks, with the main one being making a potential hero/rescuer someone who is often quite useless and out of his depth, but the basic premise is a romance novelist (Loretta Sage, played by Sandra Bullock) who is kidnapped by people looking for mythical treasure. An escape attempt leaves her stuck in the jungle, taking her on the kind of perilous adventure that she usually writes about in her novels. Alan (Channing Tatum) is the handsome man who may be able to save her from her predicament. The only problem is that Alan is completely ill-prepared for such an undertaking, having spent years as a model, notably portraying the heroic Dash on the cover of Loretta's work. Meanwhile, her agent (Beth, played by Da'Vine Joy Randolph) is trying to locate her, without any help from authorities.

Although the balance isn’t quite right, and there are developments in the third act that feel a bit false (even within this fictional framework), The Lost City is easy entertainment that aims to please as many people as possible. That is both a strength and weakness. It’s a star vehicle for Bullock, who has proven how good she is at comedy on a number of occasions, but it also allows Tatum to remind people of how well he does in comedic roles.

Directors Aaron and Adam Nee may find themselves stuck once it comes to the finale, from a script that they worked on with Oren Uziel and Dana Fox, but the journey more than makes up for the disappointment of the destination. They do themselves the biggest favour by casting well, with the few supporting roles played well by Randolph, Patti Harrison, Oscar Nuñez, Daniel Radcliffe and a certified a-list star making a hilarious cameo.

Bullock is on great form here, playing someone jaded and tired. Starting the film being put into a purple-sequinned dress that she hates, the fact that she has to tolerate that same item of clothing for a large portion of the runtime serves as a reminder that she was unhappy even before the kidnapping. Now she is very unhappy, but arguably still most put out by still wearing that dress in an environment that makes it even more impractical. Tatum is doing dumb, and he does it brilliantly. Always happy to smoulder for any female fans, he soon shows that he is at least more sweet and considerate than you may think, and the film allows him to become less and less ridiculous as the adventure continues, which subsequently allows Tatum to round out his character a bit more. Randolph is a lot of fun, constantly in a state of great stress, Harrison is a fairly unhelpful assistant, and Nuñez helps to lift things slightly when his character appears just in time to help, and fall for, Randolph’s character. Then there’s the villain, a role that allows Radcliffe to pretend to be charming and composed as he becomes increasingly desperate, and dangerous, on the way to finding potential treasure.

A few set-pieces sprinkle just enough action through the film to remind you that this is a rom-com adventure movie, but most people should remain happy enough while Bullock and Tatum bicker, flounder, and generally distract one another while they really should be staying focused on the many dangers around them.

While everyone contributes to making this a glossy, wonderful, blockbuster production, I will also single out Pinar Toprak, who delivers a great score that manages to suit the material without feeling too derivative. 

In case I didn’t make myself clear, I really enjoyed this. Is it great? No. Nor is it very original. But it is consistently amusing and entertaining, and boosted by two stars who are perfect in their lead roles, and who also both work very well alongside one another.

7/10

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Cruella (2021)

It's very much the norm now. After milking most of their properties with multiple sequels and spin-offs, and those constant "live-action" remakes, Disney have now figured out another way to sell product. They retell a story from a different angle, which mainly allows them to turn classic villains into strong anti-heroes. This approach didn't really work for me when they gave us Maleficent, mainly due to the fact that I felt the central character was reshaped too much to fit in with the new spin they wanted to give her, but it delivers a better result here, thanks mainly to the central cast and the fun spirit of the main set-pieces.

Starting with a sequence that shows a young girl named Estella (a wonderful turn from Tipper Seifert-Cleveland) being a bit troublesome for her mother, Catherine (Emily Beecham), viewers soon learn a few important details. When her troublesome side comes out, Estella refers to herself as Cruella. And one particularly lively escapade ends with her mother dying. We then move swiftly on to a montage that shows Estella meeting Jasper and Horace, living a life of opportunistic thievery, and then *voila* it's time to join the characters as young adults. Estella (now played by Emma Stone) wants nothing more than a chance to become a great fashion designer. Jasper (Joel Fry) and Horace (Paul Walter Hauser) may be able to help her achieve that dream, or they may just muck things up as they plan everything with an angle for an easy payday. Everything seems to be looking up, however, when Estella is noticed by The Baroness (Emma Thompson), and her eye for design gets her some rare praise. But some details soon come to light that make Estella realise she has been living a lie for some time, and the best person to set things right is . . . Cruella.

There's a lot to like in Cruella and, despite the overlong runtime (why must every major movie lately be over two hours long?), it's one that should keep many viewers happy. There's a fun, punk-lite, approach to the material that gives it an energy and vibe I cannot recall in any other Disney movie. It also manages to make the central character likeable without changing her completely, mainly because the events depicted here feel as if they take place quite some time before the events depicted in 101 Dalmations. As predictable as the plotting is, the actual character interactions and dialogue make things feel fresh and fun throughout. 

That's also down to the cast. Stone is clearly having a ball for every minute that she's onscreen, and she gets to showcase a number of different looks and fashion styles (all of them pretty stunning and cool). Alongside everyone else onscreen, she pitches her performance perfectly, showing both the monstrous personality that will come to the fore in a few decades time and the twitchy girl quick to survey any situation to size up the potential loot and escape routes. Although more one note, Thompson is absolutely wonderful as The Baroness, a woman with a villainous manner who inadvertently helps Estella to put more of her faith in Cruella. Fry and Hauser are both fun as Jasper and Horace, although it's fair to say that both are also outshone by a small dog named Wink in any scenes that feature him. No slight on their performances, it's just that very few people could manage not to be outshone by Wink. John McCrea also gets to have a lot of fun, and costume changes, as Artie, a Bowie-esque young man who takes a liking to the style of both Estella and Cruella. As much as I love him, and I do, the only cast member who feels out of place is Mark Strong, maintaining his usual level of earnestness and gravitas in a film that wants to be a bright and funky cartoon.

Director Craig Gillespie was a good choice for directing this, based on his track record, but I'm less sure about the pairing of Dana Fox and Tony McNamara in the writing department. Fox has a number of so-so romantic comedies to her credit, but McNamara has the likes of The Favourite, "The Great", and the excellent (you should check it out) The Rage In Placid Lake to his credit, all of which seem more suited to writing a script about the formative years of Cruella de Vil. At least someone saw the working script for Birds Of Prey, but I'm not saying that's necessarily a bad thing.

What is a bad thing is the excessive use of music throughout. I'm not exaggerating when I say that the intrusive needle drops are on a par with Suicide Squad. The songs here may feel more relevant for every main scene, but I can only assume that music supervisor Susan Jacobs was told "get a song for every single scene . . . we'll decide the ones we don't need later". It spoils a lot of the movie, especially when you hear just enough of the score from Nicholas Britell to appreciate his work, and want more of it.

I personally liked most of the set-pieces, mainly a couple of heists and the big finale, but the aesthetic throughout works both for and against the material. What works one minute can grate the next, simply because of the unrelenting cacophony of music and camera moves. There's also the problem, inherent in most Disney movies, of knowing exactly how things will turn out. That's highlighted here with a sentence delivered in the opening scenes that you know cannot be taken as literal truth, which immediately undermines the ways in which the script tries to be a bit more clever and subversive.

You'll have a fun time watching Cruella, and almost any scene involving both Stone and Thompson is a pure delight. It's nothing great though. Maybe cinematic greatness is almost impossible when Disney keep raiding their own history, as opposed to creating some entirely new heroes/villains/anti-heroes to take us on pathways we haven't already walked over at some point.

6/10

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Netflix And Chill: Isn't It Romantic (2019)

When I first heard about Isn't It Romantic I thought that it was going to cover the same ground as They Came Together. It wasn't. Instead, I got something that felt like a cross between I Feel Pretty and The Final Girls (which was, funnily enough, also from this director, Todd Strauss-Schulson).

Rebel Wilson plays a young woman named Natalie. Natalie is an architect, although a lot of people around her seems to treat her as a general dogsbody. Natalie is also quite the cynic, and has been taught from a young age (as we see in the opening scene) to always keep in mind that rom-coms are just nonsense, full of things that would never happen to someone like herself. Which makes it worse when, one day after struggling with a mugger and running into a metal beam, Natalie wakes up in hospital, and wakes up in the middle of what seems to be her own romantic comedy. Will this allow her to learn some kind of valuable lesson, or is it just going to be an endurance test until she can figure out a way back to normality.

A lot of Rebel Wilson performances depend very much on how you feel about Rebel Wilson. I tend to enjoy her work but each subsequent movie highlights the fact that she always plays things the same way. That can work, and you could say the same of her male co-star here (Adam Devine, who plays the smug moron-cum-douchebag in 90% of the movies he has done), but it's not something to rely on forever. She's fine here, and given decent support from a core group that includes Devine (the best friend who might end up being more than that), Liam Hemsworth (very . . .  "beguiling" . . .  as the hunky love interest), Priyanka Chopra (woman who Devine falls for, providing standard complication), Betty Gilpin (friendly work colleague in the real world, acidic workplace enemy underused in the rom-com world), and Brandon Scott Jones (popping up to be the subgenre-requisite gay BFF).

No one in the cast stands out as a bad choice. The big problem here lies elsewhere. The script. Written by Erin Cardillo, Dana Fox, and Katie Silberman, Isn't It Romantic has some funny and clever moments here and there, especially when it comes to censored swearing and transitions that imply sex without showing anything happening, but everything centres on a central idea that doesn't work. Wilson knows all of the tropes, and rolls her eyes at all of them, yet she goes along with them all while commenting on her displeasure. This allows the film to underline everything in every scene, making it less fun. Not only do viewers have everything spoon-fed to them while being bashed on the head with a rom-com rubber mallet, they also get constantly reminded that what they're watching is nonsense and (essentially) without any value. Where the movies mentioned in the first paragraph had a certain sweetness and optimism at the heart of them, whether you liked them or not, this has a cynicism in line with the main character, and that sours what could have been a very enjoyable rom-com that wore some layers of cool meta clothing.

Strauss-Schulson does a good job with the direction, ensuring that this always feels like your standard rom-com, from the visual style of each scene to frequent use of uplifting pop standards on the soundtrack. The film feels infused by every modern rom-com, helped there by the script, but nothing can quite outweigh the misjudged tone. I would have liked to laugh along with this film, instead it feels like they're pointing at things for you to laugh at.

There are laughs to be had, and a couple of fun musical numbers, but this is ultimately a disappointment, despite making a very good point during the grand finale.

5/10

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