THE FILM

Jon M. Chu’s Wicked, the long-awaited cinematic adaptation of the smash Broadway hit, arrives as a spectacle so bloated, so mired in indulgence, it often feels more like a strobe-lit fantasy than the heartfelt tale of friendship it once promised. For a musical that thrives on the tension between soaring ambition and quiet vulnerability, this film too often settles into a sugary, overstuffed delivery that detracts from its most intimate moments. Wicked, in its current form, is a tale of two witches; one of whom struggles, the other of whom delights; in an Oz less full of wonder than of chaotic spectacle, exhausted dance numbers, and CGI so overdone it could give a Star Wars prequel a run for its money. From the outset, Wicked sets itself up as a kind of visual feast, a film that promises both spectacle and substance, a soaring combination of magic and heart. However, as the running time creeps beyond the two-hour mark, it becomes clear that director Jon M. Chu has sacrificed much in the name of excess. The original stage show, with its brisk pacing and effervescent energy, has been stretched beyond recognition, into something almost unrecognizably overblown. What was once a tight, two-and-a-half-hour journey is now a bloated, meandering saga, dragged out to over four hours of screen time split across two films. The result? An endless succession of bells, whistles, and choreographed dances, many of which feel like empty filler rather than necessary narrative beats.

At its core, Wicked remains a story about the unlikely bond between Elphaba, the misunderstood Wicked Witch of the West, and Glinda, the sparkling, naive Glinda the Good. These women are at the heart of the story, their fragile friendship serving as both the emotional and thematic center. While there are brief, poignant flashes of their connection; such as during the Shiz dance or in the climactic moments high above Oz, the overarching focus of the film is often diverted by unnecessary CGI wizardry and overly contrived musical numbers that diminish the emotional resonance of those quieter, more intimate moments. Cynthia Erivo’s Elphaba is a solid, though somewhat stiff, performance that never quite rises to the emotional height her character demands. She sings with power, yes, but the film’s “Defying Gravity”, which should be the emotional crescendo; ends on a muted note, robbing the song of its earlier stage majesty. Arianna Grande’s Glinda, by contrast, offers a much more nuanced performance, revealing the character’s transformation from a shallow, narcissistic cheerleader into something more complex and caring. Her portrayal is tender, even if it occasionally veers into self-parody in moments of absurdity. Grande’s voice, of course, remains an undeniable highlight, “Popular” is the lone tune in the film that sticks, though it’s more due to her performance than the song’s own merits.

The film’s visual effects are perhaps its most divisive feature. As the screen is filled with fantastical creatures and landscapes, the CGI is, unfortunately, far below the standard one might expect from a film of this scale. The talking animals; most notably the goat-like creatures; are particularly jarring, resembling something from a ’90s animated feature rather than a film made in 2024. Such lapses in visual coherence only underscore the disconnect between the film’s technical ambition and its emotional depth. There is simply too much attention given to the glitzy, the shiny, and the surface-level, and not enough to the story at hand. At times, the narrative feels directionless, distracted by unnecessary side plots and performances that add nothing to the core themes. Jeff Goldblum’s turn as the Wizard is a curious misstep. Though charming in his own right, his presence here feels misplaced, as though a different film entirely was struggling to break through. Michelle Yeoh, though captivating in many of her roles, feels equally out of place, unable to balance the mystical gravity of her character with the whims of the production. The moments of humor and lightness that ought to spring from their characters instead get lost in the shuffle, buried beneath layers of choreography that seem to serve only as filler.

If anything, Wicked serves as a reminder of how fragile the balance between spectacle and emotion can be. At its best, when the focus is squarely on the bond between Elphaba and Glinda, the film soars. In the quieter, more introspective moments; particularly when both women find themselves at a crossroads, literally and metaphorically, the film taps into something deep and affecting. But these moments are often drowned out by the incessant demands of the visual effects, dance routines, and a relentless pace that seems more intent on impressing than connecting. Ultimately, Wicked leaves behind a sense of unfulfilled promise. The magic that made the original stage production such a revelation is muted here, buried under a mound of grandiose dazzlement and unearned spectacle. While there are glimpses of the “Wicked” we could have had; a film that digs into the characters’ complexity and allows their bond to shine; Jon M. Chu’s film often feels more like a vanity project than a genuine retelling. The end result is something that, while far from terrible, is a far cry from the magical experience one might have hoped for. Better than I expected? Perhaps. But that’s a bit like saying a firecracker’s pop was louder than its fizz. There’s magic in Wicked, but it’s buried under too much glitz and too little heart.

 

CLICK TO BUY WICKED ON 4K

 

THE VIDEO

In an era where the silver screen often feels monochromatic, both literally and figuratively, Universal’s 4K UHD Blu-ray release of Wicked arrives like a technicolor fever dream, as if Dorothy herself clicked her ruby slippers and whisked us away to a land where every hue is cranked to eleven. Director John M. Chu, known for his visual panache in Crazy Rich Asians and In The Heights, has created a spectacle that pushes the boundaries of modern home entertainment systems. The 1260p UHD presentation, enhanced with Dolby Vision, is nothing short of a sensory overload, a kaleidoscopic journey that would make even the most jaded cinephile’s retinas dance with delight. From the moment the disc spins to life, it’s clear we’re not in Kansas anymore. The transition from the drab, sepia-toned world to the Technicolor splendor of Kansas to Oz in the original film was bold and bright with a rainbow of color. This new film is rendered with a beautiful fidelity that would make L. Frank Baum weep with joy.

At the heart of this visual feast are our protagonists, Elphaba and Glinda, whose contrasting color palettes serve as a metaphor for their complex relationship. Elphaba’s emerald skin tone is rendered with such precision that one-half expects a TMNT chloroform to ooze from the pores of their television. In stark contrast, Glinda’s effervescent and affluent pink ensemble pops with an almost palpable glow, reminiscent of the most decadent bubble gum one could imagine. This chromatic juxtaposition calls to mind, oddly enough, Adam Sandler’s cinematic debut, Going Overboard, with its bizarrely prescient “Green” or “Pink” montage. Who knew that the Sandman’s early work would serve as a harbinger for one of the most visually striking elements of a big-budget musical adaptation? The Dolby Vision brings a level of depth and nuance to the color grading that borders on the transcendent. Blacks are inky and profound, providing a canvas upon which the myriad of colors can dance and play. Whites are crisp and pure, without a hint of the dreaded blooming that so often plagues lesser transfers. Yet, for all its visual splendor, one can’t help but wonder if Chu’s direction occasionally veers into the realm of the excessive. There are moments when the sensory barrage threatens to overwhelm, leaving one yearning for a respite in the form of a more subdued palette. It’s as if the film is screaming, “Look at me!” with such insistence that one fears for the longevity of their retinal cones.

Despite this minor quibble, the 4K UHD presentation of Wicked stands as a testament to the potential of home cinema. It’s a technical marvel that pushes the boundaries of what we expect from our living room screens. For fans of the musical, this release is nothing short of a revelation, a chance to experience Oz in all its glory from the comfort of one’s monotone couch. In the end, Wicked on 4K UHD is like the musical itself: grandiose, occasionally overwhelming, but ultimately a spectacle that demands to be experienced visually. It’s a reminder that sometimes, in the world of home entertainment, there’s no place like chrome over the rainbow.

 

THE AUDIO

This Dolby Atmos audio mix of Wicked emerges as a true sonic sorcerer. It’s as if the wizards at Universal have concocted an auditory elixir, one that transforms living rooms into the grand theaters of Oz, complete with flying monkeys and the occasional musically belting witch. From the moment the film begins, it’s clear that this is no mere sound mix, but rather an immersive incantation. Each note of John Powell and Stephen Schwartz’s score doesn’t just play; it pirouettes through the air with the grace of Glinda herself, bubbling from speaker to speaker in a dance as precisely choreographed as any on-screen number. The low-end frequencies rumble with a potency that would make the Cowardly Lion roar with envy. During the more bombastic musical numbers, one half expects the floorboards to transmute into yellow bricks, such is the visceral thrum of the bass. It’s a foundation as solid as Elphaba’s moral compass, underpinning the entire aural experience with a gravitas befitting a tale of this magnitude.

But it’s in the subtleties where this mix truly defies gravity. The rustle of a witch’s gown, the tap of a shoe, the clap of a hand; each finds its place in the soundscape with a precision that borders on the obsessive. One can almost imagine the sound engineers, hunched over their mixing boards like alchemists, carefully placing each aural element as if arranging emeralds in the Emerald City’s crown. The height channels, often the neglected stepchildren of home audio setups, here become the stars of the show. As the infamous flying monkeys soar above the Emerald City, the overhead speakers spring to life with such vivacity that one instinctively ducks, half-expecting to feel the whoosh of primate wings overhead. It’s a vertiginous experience that adds a literal new dimension to home viewing. Dialogue, that oft-sacrificed element on the altar of spectacle, remains crystalline throughout that center channel. Every witty retort, every heartfelt confession, cuts through the mix with the sharpness of a witch’s hat. It’s a testament to the mixers’ skill that even amidst the swirling cacophony of a full-blown musical number, not a single syllable is lost to the ether.

The true magic of this Atmos track, however, lies in its ability to create space where none exists. In moments of quiet intimacy, the mix expands, enveloping the listener in a cocoon of sound that feels as vast as Oz itself. It’s an auditory sleight of hand that transforms even the most modest of living spaces into a grand amphitheater. For those fortunate enough to possess a sound system of sufficient robustness, Wicked on Dolby Atmos is nothing short of a revelation. It’s a mix that doesn’t just complement the on-screen action but elevates it, creating a gathering of sight and sound that is, dare we say, wicked in its effectiveness. In the end, this audio presentation is a spellbinding tour de force, a bewitching blend of technical prowess and artistic vision. It’s the kind of soundtrack that makes one believe, if only for a moment, that they too might defy gravity. Just don’t be surprised if, after the final notes fade, you find yourself checking the mirror for a hint of green in your complexion.

 

THE EXTRAS

There are more than an hour of bonus features of cast and crew interviews with two audio commentaries on this set.

  • Audio Commentary #1 with Jon M. Chu
  • Audio Commentary #2 with Ariana Grande and Cynthia Erivo
  • Sing-A-Long Version of the Film
  • Deleted Scenes
  • Making Wicked (46 Mins.)
  • Welcome To Shiz (8 Mins.)
  • A Wicked Legacy (5 Mins.)
  • The Wonderful Wizard (4 Mins.)

 

THE ULTIMATE WORD

In the ever-evolving landscape of Broadway-to-Hollywood adaptations, where dreams of celluloid immortality often crash against the rocks of public skepticism, Wicked emerges as a curious case study in cinematic bifurcation. The decision to cleave Stephen Schwartz’s beloved musical was met with the kind of cynicism usually reserved for tax hikes and kale smoothies. Yet, like its verdant protagonist, this first installment manages to defy gravity and expectations. The Emerald shimmering 4K image with Dolby Vision is a fantastic sight to behold while its bubble-gum Dolby Atmos audio roar sounds excellent. There are some fun and informative bonus features as well. For those who love the film and great-looking and sounding home video releases, this is HIGHLY RECOMMENDED!

WRITTEN BY: BRYAN KLUGER

Bryan Kluger is a Media Director, Film Critic, and Podcast Producer for various radio shows, podcasts, magazines, and online outlets. (Boomstick Media/ My Bloody Podcast/ Arts+Culture Magazine/ SoundtraxxRadio/ The Entertainment Answer Radio Show/ Fear and Loathing in Cinema)

By Bryan Kluger

Former husky model, real-life Comic Book Guy, genre-bending screenwriter, nude filmmaker, hairy podcaster, pro-wrestling idiot-savant, who has a penchant for solving Rubik's Cubes and rolling candy cigarettes on unreleased bootlegs of Frank Zappa records.

Leave a Reply

Your email address will not be published. Required fields are marked *