A VISUAL MUSICAL FINALE THAT SOARS –
EVEN IF IT DOESN’T DEFY GRAVITY
Are people born wicked, or is wickedness thrust upon them? This enduring question lies at the heart of Wicked, the 2024 fantasy musical that reimagined the intertwined destinies of Elphaba and Galinda. Directed by Jon M. Chu and starring Cynthia Erivo, Ariana Grande, Jonathan Bailey, Michelle Yeoh, and Jeff Goldblum, the film transports viewers to the Land of Oz long before the events of The Wonderful Wizard of Oz, exploring the formative bond between Elphaba—the future Wicked Witch of the West—and her unlikely roommate, Galinda Upland, who would eventually become Glinda the Good. Released on November 22, 2024, Wicked—based on the first act of the 2003 stage musical by Stephen Schwartz—was met with widespread acclaim from critics and audiences alike. Praised for Chu’s direction, its sweeping production design, memorable musical numbers, and standout performances, the film became an overnight cultural phenomenon. It grossed over $759 million worldwide against a $150 million budget, ranking as the fifth highest-grossing film of 2024 and the highest-grossing musical adaptation of all time. It also earned numerous accolades, including two Academy Awards for Best Costume Design and Best Production Design, the National Board of Review’s Best Film award, and a place on the American Film Institute’s list of the year’s top films. Now, one year later, Universal Pictures and Jon M. Chu return to finish the tale with Wicked: For Good, the second half of Elphaba and Glinda’s journey through Oz. The question is: does this continuation live up to the remarkable standard set by its 2024 predecessor—or does it falter, delivering a second act that struggles to recapture the magic?
THE STORY
Five years have passed since Elphaba Thropp (Cynthia Erivo) “defied gravity” and was branded the fearsome “Wicked Witch” by the Wizard of Oz (Jeff Goldblum). Now a fugitive, Elphaba continues her crusade against the corrupt ruler, determined to expose his cruelty toward animals and his manipulation of the citizens—citizens who have been conditioned to see her green skin as the mark of a public menace. Trying to make sense of the turmoil is Glinda (Ariana Grande), thrust into a position of symbolic power as Oz’s new guiding light. With the ever-calculating Madame Morrible (Michelle Yeoh) pulling strings behind the curtain, Glinda becomes the polished poster child for the Wizard’s regime, even as she is swept into an orchestrated engagement with Fiyero (Jonathan Bailey), Captain of the Wizard’s Guard. Elphaba remains steadfast in her mission to reveal the Wizard’s lies, yet she is still haunted by the fracture in her once-close friendship with Glinda. Both women struggle to navigate the widening gulf between them—Glinda torn between duty and conscience, Elphaba wrestling with unexpected feelings for Fiyero that complicate matters further. Meanwhile, Morrible’s schemes grow darker. Seeking to eliminate the Wicked Witch once and for all, she summons a mysterious young girl from Kansas—setting into motion the final confrontation that will determine the fate of Oz.
THE GOOD / THE BAD
What can I say? I loved 2024’s Wicked. I’ve always been an avid fan of fantasy storytelling and grew up watching countless Broadway musicals—Les Misérables, Joseph and the Amazing Technicolor Dreamcoat, Cats, The Phantom of the Opera. The idea of merging that theatrical flair with a reimagined story set before (and partially during) the events of The Wizard of Oz instantly caught my attention. I never had the chance to see Wicked on Broadway—something that’s still on my bucket list—but the film became my first real opportunity to experience it through a cinematic lens. And honestly, I was blown away.
Director Jon M. Chu crafted a stunning adaptation, bringing the iconic stage musical to the big screen with a vivid, meticulously detailed vision. The production values were breathtaking; every set, costume, and visual flourish felt lovingly constructed, and the behind-the-scenes team deserves immense credit for making Oz feel wondrous, lived-in, and grand. Chu kept the narrative largely faithful to the stage show, but the added material helped strengthen emotional beats and broaden the world in meaningful ways.
The cast was another major highlight. Every performer brought theatrical energy, charisma, and authenticity to their roles. Cynthia Erivo and Ariana Grande, in particular, were pitch-perfect as Elphaba and Galinda. Their chemistry, emotional depth, and vocal performances anchored the film beautifully. And the musical numbers? Absolutely spectacular. From the whimsical earnestness of “The Wizard and I,” to the playful spark of “What Is This Feeling?”, to the toe-tapping joy of “Dancing Through Life,” and the show-stopping triumph of “Defying Gravity”—each sequence was choreographed with precision and performed with vibrant conviction. And yes, “Defying Gravity” absolutely lives in my head rent-free.
In the end, Wicked was a magical, enchanting musical experience that truly “defied gravity” and soared into cinematic bliss.
This brings me to Wicked: For Good (also known as Wicked: Part Two), the 2025 fantasy musical and follow-up to 2024’s Wicked. Since the first film was marketed as only the first half of the story, it was a foregone conclusion that a sequel was inevitable—and unlike many franchises, we didn’t have to wait long. Both installments were filmed back-to-back during principal photography, allowing for just a one-year gap between releases—something that excited fans of the original, myself included.
In the months leading up to its debut, I eagerly devoured every teaser image and production update that surfaced online. When the film was officially retitled Wicked: For Good, my anticipation only grew. The marketing campaign and theatrical trailers promised a sweeping, emotionally charged conclusion—highlighting the continuation of Elphaba and Glinda’s intertwined journeys, the return of the ensemble cast and crew, and the dramatic centerpiece song “For Good,” which many fans (myself included) already knew well. Though I never saw the Broadway production, I did read the novel that inspired it, and I first heard “For Good” years ago through the TV series Glee, so I had some familiarity with the emotional weight behind it.
With Chu returning to direct, the same creative team bringing Oz back to life, and the core cast stepping into their roles once again, I was genuinely excited to see where this second half would take the story. I was fortunate enough to attend an early screening two days prior to its official November 21, 2025 release, and I worked hard to prepare my thoughts so I could share this review as soon as possible.
So—what did I think? I loved it. While Wicked: For Good does inherit some of the familiar pitfalls that come with any musical’s second act—narrative compression, heavier emotional beats, and occasional structural clunkiness—it still rises above those challenges. The film delivers a sweeping, heartfelt continuation of the saga of good and evil in Oz, anchored by powerhouse performances from Cynthia Erivo and Ariana Grande. It doesn’t quite recapture the same lightning-in-a-bottle magic of the 2024 film, but that shouldn’t diminish the scale, ambition, or emotional resonance of Chu’s concluding chapter.
As a side note—though I still haven’t seen the Broadway musical in person, I did look up the full stage production after watching Wicked: For Good. So throughout this review, I’ll be drawing some comparisons between the original theatrical version and its cinematic interpretation.
As mentioned earlier, Wicked: For Good is directed by Jon M. Chu—naturally, given his work on the 2024 Wicked as well as previous projects like Now You See Me 2, In the Heights, and Crazy Rich Asians. Since Chu signed on to helm both installments and filmed them back-to-back, it’s no surprise he returned for the second half. His presence ensures a seamless continuity between the two films, and this installment genuinely feels like a direct extension of the first.
With Chu at the helm, Wicked: For Good carries the same energy, stylistic flair, and intentionality that made its predecessor so successful. While there are noticeable differences in tone—this chapter being darker, heavier, and more emotionally charged—the film still maintains the clear, confident vision Chu brought to the original. His direction once again blends theatricality with cinematic scale, making the transition from stage to screen feel both faithful and expansive.
For the most part, the story remains a faithful adaptation of Act Two of the Broadway musical. Chu supplements the source material with new scenes and character moments designed to flesh out motivations and strengthen emotional beats. While I do think the film could have gone further in certain areas (more on that later), the additions that are present help enrich the narrative in meaningful ways. It’s evident that Chu knew exactly what he wanted to accomplish—structurally, visually, and thematically.
Even if I don’t agree with every directorial choice, it’s hard not to admire the ambition behind his approach. Chu embraces the challenge of translating such a beloved stage production to film and succeeds in crafting a sweeping, heartfelt conclusion to this two-part saga. Wicked: For Good brings the latter half of the story to a dramatic, emotional close—underscoring both the scale of the world and the deeply personal journeys at its heart.
As for the story itself, this second half of the duology carries far more emotional weight and thematic resonance than its predecessor. That’s not to say Chu drastically alters the tone or disrupts the flow between the two films—Wicked: For Good still feels like a natural continuation of the first. However, there is a noticeable shift in atmosphere. While the 2024 installment leaned into whimsy, charm, and lighter beats (with an undercurrent of growing tension), this sequel embraces a darker, more introspective tone. Characters are now singing from places of reflection, loss, conflict, and finality. Their emotions feel heavier, their decisions more consequential.
The film explores several deeper themes and motifs, many of which cast longer shadows across Oz’s vibrant world. These include the ongoing conflict over animal rights (and the colonialist undertones surrounding it), the moral ambiguity of choosing what is easy over what is right, the resistance against oppression and propaganda, and the ever-present idea that every “truth” has another side. These thematic threads give the narrative a maturity that distinguishes it from the lighter first chapter.
All of this builds toward a grand finale that is both dramatic and tender—a conclusion that mirrors not only the political and social turmoil within Oz, but also the deeply personal journeys of Elphaba and Glinda. Their arcs converge into a bittersweet resolution that feels earned, reflective, and emotionally potent.
Of course, the musical element is once again a major component of this adaptation, and I’m happy to say it still works just as effectively as it did in the first film. Granted, many of the Act II numbers in the stage musical aren’t as upbeat or toe-tapping as the Act I songs featured in Wicked (2024), but the selections highlighted in Wicked: For Good remain strong. They reflect the characters’ shifting emotional landscapes, their personal conflicts, and the heavier tone of the story’s latter half. Stephen Schwartz’s original lyrics and compositions continue to shine here—more reflective, more introspective, and more emotionally charged than many of the earlier numbers.
Naturally, the standout is the film’s namesake “For Good.” The song carries every ounce of the heart, tenderness, and emotional weight that fans cherish from the Broadway version. Erivo and Grande’s final duet is beautifully performed, serving as a poignant culmination of their shared journey across these two films. It may not have the soaring theatrical punch of “Defying Gravity,” but “For Good” is the perfect emotional send-off for Wicked: For Good. And yes—I cried during this part.
Other highlights include “No Good Deed” and “As Long as You’re Mine.” “No Good Deed” gives Cynthia Erivo a powerhouse moment to fully unleash Elphaba’s anguish and determination, while “As Long as You’re Mine” deepens the romantic connection between Elphaba and Fiyero in a way that feels genuine and well-earned. I also appreciated how the film opens with “Every Day More Wicked,” a reestablishing piece that cleverly weaves in melodic cues and motifs from the 2024 film.
Additionally, Wicked: For Good debuts two new songs written specifically for the cinematic adaptation: Elphaba’s “No Place Like Home” and Glinda’s “The Girl in the Bubble.” Both fit naturally within the film and support the narrative, though it’s clear they weren’t part of the original stage material. They’re good additions, but their more modern polish makes them stand out slightly from the classic Schwartz compositions. Of the two, “The Girl in the Bubble” is the stronger number—an emotionally honest reflection of Glinda’s internal struggle, buoyed by Grande’s warm, heartfelt performance. Still, Erivo’s “No Place Like Home” works well within the early moments of the film and blends nicely into Elphaba’s emotional arc.
Overall, while I still believe that 2024’s Wicked is the stronger of the two entries (more on that below), Chu still delivers heartfelt success with Wicked: For Good, tapping into deep emotion and thematic reflection to bring this duology’s story of Elphaba and Glinda to a thoughtful, resonant conclusion.
In terms of presentation, Wicked: For Good maintains the same visual splendor—both practical and digital—that made the first film such a feast for the eyes. Because this sequel was developed and filmed almost in tandem with the 2024 installment, it carries a similarly large-scale production, boasting a $150 million budget—quite the blockbuster price tag for a musical. Yet every dollar is on the screen. The film is visually stunning from start to finish, bringing the realm of Oz to life with imagination, color, and cinematic extravagance.
Oz, in its many interpretations across pop culture, has always been a creative playground—one that stands proudly alongside iconic fantasy realms like Neverland or Wonderland. Chu’s vision embraces that legacy while forging its own identity. Instead of the hyper-surreal, dreamlike aesthetic seen in 1939’s The Wizard of Oz or 2013’s Oz the Great and Powerful, Chu opts for a hybrid approach: one foot in grounded reality, the other in theatrical fantasy. The result is an Oz that feels whimsical and awe-inspiring, yet tangible and lived-in.
The practical sets are meticulously crafted, bursting with color and detail. Munchkinland is vibrant and storybook-like, while the surrounding forests blend earthy charm with fairytale whimsy. The Emerald City, by contrast, retains its fantastical sheen but incorporates steampunk-inspired design elements that give it a fresh, stylish edge. Costume design and set decoration further elevate these environments—every outfit, prop, and architectural flourish reflects a richly imagined world that is equal parts magical and cinematic.
Essentially, everything that made the first film’s production design so spectacular returns in full force here. With the same behind-the-scenes talent returning—Nathan Crowley (production design), Lee Sandales (set decoration), Paul Tazewell (costume design), and the full hair, makeup, and art direction teams—the film boasts a lush, immersive world that feels both grandly theatrical and surprisingly believable.
While the practical sets ground the story, the visual effects bring the more fantastical moments to life. The CGI is impressive—polished, modern, and seamlessly integrated into the environment. These effects elevate the film’s larger set pieces, especially in the finale, without overwhelming the screen or distracting from the emotional beats. Complementing this is Alice Brooks’s superb cinematography, which uses sweeping camera movements, dramatic lighting, and striking shadow work to capture the story’s grand and intimate moments alike.
And although the musical numbers remain the film’s biggest draw, John Powell’s score deserves praise. His compositions are whimsical, emotional, and soaring—perfectly complementing Schwartz’s iconic songs and enhancing the film’s quieter moments as well as its sweeping crescendos.
Despite the many positives I have with this movie, Wicked: For Good does stumble more than its predecessor, creating a handful of noticeable issues. How so? For me, the biggest culprit actually comes from the Broadway musical itself. It’s widely accepted that, of the two acts in the stage production, Act One is the stronger half—better character development, richer emotional beats, and, frankly, stronger songs. Act Two, by comparison, is more plot-driven, focused on moving pieces into place to align with the events of The Wizard of Oz. As a result, even with Chu’s additions and refinements, Wicked: For Good inherits many of the same structural drawbacks that have long accompanied the stage version’s second act.
You can see this clearly throughout the film. The songs, while still beautifully performed, don’t have the same level of catchiness or buoyant show-stopping energy found in the first film. Many of the major numbers are quieter, more introspective pieces sung solo—effective, yes, but lacking the fun and flair of Act One’s highlights like “What Is This Feeling?”, “Dancing Through Life,” or “One Short Day.” Those upbeat ensemble moments are replaced here with more dramatic, emotionally heavy pieces, which shifts the overall tone into something far more somber.
The pacing also reflects this shift. Strangely, Wicked: For Good feels slower than the first film, even though it’s actually twenty-two minutes shorter. I didn’t personally find the pacing to be a huge detriment, especially considering Chu expanded the original narrative to fill two films. Still, there were definitely moments that could have been tightened. And again, this mirrors what many longtime fans have said about Act Two of the musical: it simply isn’t as strong or as consistently engaging as Act One.
This becomes especially apparent in the third act, when the story begins overlapping with the events of The Wizard of Oz. Here, the limitations of the source material become more exposed. The script moves quickly—and sometimes too quickly—through several key plot points tied to Baum’s original story. It’s odd because the film spends a significant portion of its runtime setting up these connections, yet when the time comes to fully lean into them, the movie rushes through the material. A few emotional moments even feel somewhat undercut by this abbreviated approach. While this more condensed narrative rhythm works on a stage, in a cinematic format it feels restrictive and occasionally underwhelming. This includes the somewhat odd decision to present Dorothy Gale in Wicked: For Good using a similar approach to how 2023’s Air handled Michael Jordan’s presence. To be fair, Dorothy has a slightly larger role here than she does in the stage musical, but the way the film chooses to portray her still feels frustrating and limiting. Yes, one could argue that Wicked is about Elphaba and Glinda’s journey, not Dorothy’s—but the missed opportunities for deeper crossover moments are hard to ignore.
All of this contributes to my “mixed feelings” on the runtime. On one hand, certain sections drag and could have been trimmed. On the other hand, the film would have benefited from additional time to explore the Oz/Wicked intersection more fully. It’s a frustrating paradox: I wanted the pacing tightened and I wanted more expansion in key areas. A longer, more deliberately paced third act could have made those crossovers richer and more satisfying.
What certainly helps elevate the film above its criticisms is its cast. Every major actor from the first Wicked returns to reprise their roles, and while some characters naturally shine more than others due to narrative focus, the entire ensemble slips back into their parts with ease. Each performer brings charisma, nuance, and presence—capturing the essence of their characters with both subtlety and boldness befitting a musical-theater adaptation.
Once again leading the charge are the two central figures of Elphaba and Glinda, played by Cynthia Erivo and Ariana Grande. Erivo—known for Widows, Harriet, and Bad Times at the El Royale—continues to showcase her exceptional talent for embodying richly layered, emotionally driven roles. She delivered a powerhouse performance in the first film, portraying Elphaba with complexity, vulnerability, and quiet strength. In Wicked: For Good, she only deepens that portrayal.
Erivo brings a fascinating mix of sympathetic light, dry wit, and guarded warmth to Elphaba—traits that define the character at her core. She commands the screen with remarkable presence, carrying the emotional weight of the narrative with the same conviction and heart that made her performance in the first film so memorable. Every scene she appears in feels grounded and alive, and her emotional delivery resonates powerfully.
Her vocal work, unsurprisingly, is exceptional. Erivo’s voice is extraordinary—rich, clear, expressive—and she elevates every musical number she touches. She is equally compelling in the softer, more introspective songs as she is in the larger ensemble moments. But her true showstopping brilliance emerges when she unleashes her full vocal power in numbers like “No Good Deed.” It’s a spectacular performance—raw, soaring, and unforgettable. Simply put, Erivo owns the role of Elphaba inside and out.
Interestingly, Ariana Grande—known for Sam & Cat, Victorious, and Don’t Look Up—continues to embody Glinda Upland with infectious humor and charm. However, in Wicked: For Good, one could argue that Grande’s performance becomes even more of a centerpiece. Glinda steps into a far more prominent narrative role this time, and Grande rises to the challenge with maturity and emotional depth. This doesn’t diminish Erivo’s outstanding work—in fact, both women shine—but Grande’s Glinda is notably more layered and resonant in this installment.
In the first Wicked film, Glinda (or Galinda) began as the snobbish, self-important “mean girl,” full of comedic bravado—a side of Grande that surprised many and worked brilliantly. In Wicked: For Good, however, Glinda’s journey becomes more morally introspective. She grapples with her own complicity, her moral compass, and the consequences of her actions—or her inaction—regarding Elphaba’s struggles. While Grande still delivers well-timed comedic moments, her performance leans more heavily into seriousness, reflection, and internal conflict as Oz faces greater turmoil.
Grande handles these shifts with remarkable grace. Both the character and the actress show genuine growth between the two films, and it works terrifically. Like Erivo, Grande fully immerses herself in the role from beginning to end, delivering a Glinda who is whimsical, earnest, and emotionally impactful.
Her vocal performance is also excellent. Grande proves she has the vocal chops to carry Glinda’s repertoire, handling every song with clarity and passion—especially in her standout number “Thank Goodness / I Couldn’t Be Happier,” which she performs with heartfelt sincerity.
All in all, Grande is a match made in heaven for Glinda, infusing the character with personality, warmth, comedic brightness, and emotional gravity. And what further elevates both her and Erivo’s performances is their shared on-screen chemistry. Whether as rivals, frenemies, or unexpected confidantes, the dynamic between Elphaba and Glinda feels authentic and lived-in. Their relationship grows naturally across both films, enhancing the tension, the tenderness, and the emotional payoff of their journey.
This chemistry is especially powerful in the film’s final sequences, culminating in their duet of “For Good,” which lands with masterful emotional clarity. The relationship between Elphaba and Glinda feels earned, heartfelt, and deeply moving as the narrative builds toward its climactic conclusion.
Behind Erivo and Grande, the film continues to shine a prominent spotlight on Fiyero Tigelaar—the charismatic Winkie prince-turned-Captain of the Wizard’s Guard and the man who continues to capture the attention of both Elphaba and Glinda. Played once again by Jonathan Bailey (Bridgerton, Broadchurch), Fiyero remains one of the stronger supporting pillars of the narrative. Bailey does an excellent job portraying a more mature, grounded version of the character, downplaying the cocky bravado of his earlier introduction and instead emphasizing a man torn between duty and love. His standout moment arrives during “As Long as You’re Mine,” a romantic duet between Fiyero and Elphaba that Bailey and Erivo perform beautifully—a tender, emotional highlight of the film.
Like in the previous installment, the character of Fiyero somewhat fades from the screen before the third act due to plot necessities, and it’s admittedly frustrating that he isn’t utilized more. Even so, Bailey remains compelling in every scene he’s given and continues to embody Fiyero with charm, sincerity, and strong screen presence.
The same can be said for Ethan Slater as Boq and Marissa Bode as Nessarose. Though they receive less screen time here than in the first film, their roles in Wicked: For Good are more narratively impactful. Boq, the devoted Munchkin servant, and Nessarose, Elphaba’s paraplegic sister turned Governor of Munchkinland, both play crucial parts in shaping the story’s progression, especially as Act II threads begin aligning with the classic Oz storyline. Slater and Bode deliver strong supporting performances, and their characters feel more directly tethered to the emotional and thematic backbone of the film.
Two of the film’s most seasoned performers, Michelle Yeoh and Jeff Goldblum, also return as key figures in the narrative—Madame Morrible and the Wizard of Oz. Yeoh, reuniting with Chu after Crazy Rich Asians, once again commands every moment she’s on screen. She plays Madam Morrible with delicious theatrical flair, balancing elegance, deception, and quiet menace. It’s clear she’s having a blast with the role, and her performance only reinforces Morrible’s position as the true manipulative power behind the Emerald City’s political machine. Her scenes are consistently engaging, and she brings gravitas to every appearance.
Likewise, Jeff Goldblum continues to embrace his signature persona with gleeful charm, playing the Wizard with the perfect blend of warmth, charisma, and sly trickery. He remains an amusing, magnetic presence—equal parts con man, showman, and misguided authority figure. Goldblum’s performance feels effortless in the best way, and he brings an infectious energy to the role that mirrors the character’s iconic legacy. Together, Yeoh and Goldblum enrich the film’s supporting cast with texture, humor, and veteran-level charisma—each leaving a memorable mark on Wicked: For Good.
The rest of the cast, including actor Bowen Yang (The Outs and Isn’t It Romantic) as one of Galinda’s close friends from Shiz named Pfannee, actress Bronwyn James (Harlots and Lockwood & Co.) as one of Galinda’s close friends from Shiz named ShenShen, actress Keala Settle (The Greatest Showman and Every Other Weekend) as the headmistress of Shiz University Miss Coddle, actress Sharon D. Clarke (Holby City and Tau) as the voice of Dulcibear, an animal bear who acts as a nanny to the Thropp family, make up the rest of the remaining characters in some supporting / minor roles. While some of their screen time is limited when comparing to their time in 2024’s Wicked this collective group still does some solid work within their sum parts and certainly do shine whenever they are called upon their respective small scenes.
FINAL THOUGHTS
The epic conclusion to Elphaba and Glinda’s journey—righting wrongs and exposing hidden truths to the people of Oz—reaches a dramatic, emotional finish in Wicked: For Good. Director Jon M. Chu returns to adapt the second half of Stephen Schwartz’s Broadway musical, transforming it into a cinematic experience that mirrors the visual splendor and heartfelt poignancy of the first film. As Elphaba and Glinda’s story weaves into the fabric of The Wonderful Wizard of Oz, the results do vary. Some of the source material’s inherent structural issues carry over, and the pacing occasionally stumbles, but for the most part, the film finds a confident rhythm as it navigates the grand finale of this tale. With Chu’s thoughtful direction, thoughtful new material, stunning production design, a beautiful musical score, fantastic cinematography, and a cast firing on all cylinders, the film ultimately delivers a compelling and emotionally satisfying conclusion. Personally, I really enjoyed this movie. I didn’t love it to the same degree I adored the 2024 Wicked—a film that still holds a special place in my cinematic heart and remains, in my opinion, the stronger and more magical of the two—but this sequel is far from disappointing. It is a genuinely terrific and fitting extension of the first film. Yes, there are frustrations in the pacing and some missed storytelling opportunities, but the combination of gorgeous visuals and the powerhouse performances from Cynthia Erivo and Ariana Grande more than compensate. Wicked: For Good may not quite “defy gravity,” but it absolutely still soars. My recommendation is a solid “highly recommended.” Fans of the original film, devotees of the Broadway musical, and general moviegoers alike will likely find plenty to love here. Expectations may differ from person to person, but the overall experience remains warm, emotional, and rewarding. There have been whispers of possible side projects set within the Wicked universe, and I would certainly be interested in seeing where such ideas might lead, though nothing is confirmed at this time. In the end, Wicked: For Good may not reach the same level of cinematic achievement as its predecessor, but its shortcomings are overshadowed by a powerful story about choices, consequences, and the bittersweet finality of a friendship that changes both women “for good.” That emotional resonance ensures the film’s impact remains timeless in its own right.
4.3 Out of 5 (Highly Recommended)
The Official Website for Wicked: For Good Link: HERE
Released On: November 21st, 2025
Reviewed On: November 25th, 2025
Wicked: For Good is 137 minutes long and is rated PG for action / violence, some suggestive material, and thematic material
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