By Matthew Moorcroft

Strong Recommendation

• Directed by Jon M. Chu
• Starring Cynthia Erivo, Ariana Grande, Jonathan Bailey, Jeff Goldblum
• PG

Getting a Wicked movie always felt like something of a weird pipedream. Seemingly in development for a decade and talked about for even longer, by the time it got to our movie screens it almost feels like a nostalgia property rather then a hot of the Broadway ticket adaptation that it was initially pitched at. As such, Wicked comes not only with a large amount of fan expectation but also a level of healthy skepticism.

Frankly, I don’t know if Wicked: Part I, as it calls itself on screen and not hiding it’s status as only the first half of a larger narrative, will take in every single newcomer. This is by design and a feature instead of a bug I’d argue, perfectly content with fully leaning into the musical’s sometimes sugary sweet atmosphere and tone. The performances are going at 110%, the musical numbers are loud and bombastic, and everything from something as big as the reveal of a fascist dictator to as small as the reveal of Ariana Grande’s amazing hair.

But for those who are willing to engage with it’s very specific vibes, and those already in the know, Wicked is fantastic. It’s actually a lot better then it’s somewhat lackluster trailers and strange production would imply; a great example of how something that should be a mess in action that is propped up entirely by a completely committed cast and crew who are on the top of their game across the board. Even Jon M. Chu, a director whose work has ranged in terms of quality, feels like he stepped up his game for this film in particular, with great camera movements and musical sequences that have kinetic, precise editing.

It’s really Grande and Erivo who the stars of the show here though. Wicked as a musical lives and dies on both the chemistry between it’s two stars but also them individually, their clashing yet complimentary attitudes and personalities being the real driven force of the music and script. Erivo is actually more subdued here then you would think, playing Elphaba with a quiet, reserved attitude that makes her brief moments of crying out – especially near the end – work wonders. Grande is, obviously, playing more to the camera and over the top on purpose to compensate, and beyond being a scene stealer, it also does mean on the rare moments Grande has to be quieter and more reflective it stands out more. A ballroom sequence around the halfway point is the big standout to me in terms of this dynamic; little is said through words, instead it’s all action and slight motions, story through dance.

And because of that lead dynamic being so strong, the lavish and expensive production, with sets that feel like the size of actual cities, never reaches over into kitsch while also never forgetting to embrace a loving feeling of camp. The “Dancing Through Life” sequence, with it’s marvelous set design and numerous moving parts, is particularly impressive in this regard, and this “emotion over logic” storytelling conceit is exactly the kind of structure something like The Wizard of Oz needs to succeed. It’s only real failing is probably it’s lighting, which ranges from “fine” to “downright distracting” in it’s worst moments. This is probably a great symptom of modern blockbuster filmmaking though rather then a fault of Wicked as a film, as Wicked on the whole is one of the stronger looking studio blockbusters that isn’t a Dune or The Batman. It’s animal VFX work is impressive, it’s flying sequences actually feel speedy, and most of the final act blue screen work feels seamless. That final act in particular, which ends on the final 10 minutes adapting the now famous “Defying Gravity” sequence, ends on such a monstrous high that you genuinely feel elevated by the end of it.

Most of all though, Wicked: Part I is just a really fun time. It has some interesting things to say about propaganda and fascism, sure, but it feels more at home with something like Sound of Music; an old school, four quadrant blockbuster event that wants to sweep you of your feet with grand romantic statements, great dancing, and actors who are here to have a party. Whether or not it can sustain that going forward into it’s sequel will be seen, but as a standalone film it’s a blast and one of the standout blockbusters of 2024 in terms of enjoyment value.