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Tag: Cynthia Erivo

  • ‘Wicked: For Good’ stays true to its story, for better and worse | movie review

    ‘Wicked: For Good’ stays true to its story, for better and worse | movie review

    “Wicked: For Good” brings the story of Elphaba and Glinda to a satisfying conclusion, even as its source material’s flaws glimmer through.

    “Wicked: For Good“ is, much like Act 2 of the stage show, a mixed bag. It highlights the strongest aspects with raw and visceral musical numbers that underline the emotional struggles of the characters. At the same time, however, it emphasizes its weaknesses as it clunkily weaves “The Wizard of Oz” into the story. Still, and most importantly, the relationship between Elphaba and Glinda hits all the emotional notes that made Wicked such an enduring story. Cynthia Erivo continues to captivate on the screen, but it is Ariana Grande’s magnificent performance as an emotionally-torn Glinda that gives the movie the complexity and depth to become greater than the sum of its parts.

    “Wicked: For Good” is in theaters Friday.

    For better (good?) or worse, “Wicked: For Good” is exactly the movie you’re expecting. For fans of the stage show, it highlights its strongest aspects. The musical numbers have the same raw, visceral emotionality just blown up in scale while the characters’ complex journeys are even more deeply felt. With that, however, it emphasizes its notorious weaknesses. In particular, the way the plot twists to tie to “The Wizard of Oz” still feels clunky. Despite its failings, and most importantly, the relationship between Elphaba and Glinda hits all the emotional notes that’s made “Wicked” such an enduring classic. Perhaps even more so in the movie version.

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    Part one of the Wicked duology has the easier job. Not only is its tie to “The Wizard of Oz” tenuous, the archetypes of the characters are simple and familiar. Elphaba (Cynthia Erivo) is the brainy outsider that rails against injustice and Glinda (Ariana Grande) is the self-absorded popular girl with an unexpected heart. “For Good” takes those archetypes, and throws them into a complex situation that mirrors the very real structures of oppression in our society. Structures that director Jon M. Chu emphasizes even more with propaganda against Elphaba flying through the streets of Oz and added scenes of prejudice that could be taken straight out of a Holocaust movie. Yeah, things get a little convoluted.

    The story’s clear ties to the darkest instincts of society sometimes rub against the silliness of a world where munchkins co-exist with talking animals. It’s maybe even more stark with the additions to the plot by screenwriters Winnie Holzman (who penned the stage version) and Dana Fox. Among those additions is a new song sung by Elphaba called “There’s No Place Like Home” where she encourages the animals, who are forced into hiding, to fight for their homeland. Like many of the changes to the story, it feels gratuitous and out-of-place in an attempt to emphasize a theme that is already underlined in the source material. Unlike the changes to the first movie that felt in service to the characters’ journeys. Holzman should have trusted her original writing because what works most often in the movie is what is taken directly from the stage. 

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    The second act of Wicked has always felt like Glinda’s story as she struggles between two truths: that she enjoys the adoration brought to her by working with The Wizard (Jeff Goldblum) and Madame Morrible (Michelle Yeoh), and the fact that she knows that her friend is a good person. Ariana Grande’s magnificent performance underlines that paradox as she tries to hold on to her newfound power in Oz while protecting her friend. Part of that involves ignoring what is happening around her with the glimmer of hope that it’s not as bad as Elphaba says and that it is not too late to change course. But Grande never lets that hope come off as delusion. For a character as high off the ground as Glinda, she always feels grounded in something real.

    As the story progresses and alliances shift or are revealed, the main trio of Elphaba, Glinda and Fiyero (Jonathan Bailey) circle each other with fiery passion fueled by their histories. Like in “As Long As Your Mine,” which feels even more like a showstopper in the movie. Bailey exchanges his character’s bravado for real bravery as he bares his genuine feelings for the first time. As the camera swirls around the couple, it feels like classic romantic movie magic. That is juxtaposed against “No Good Deed,” which burns with anger and pain as Elphaba, delivered with unrestrained ferocity by Erivo, faces her past and present failings in a desperate attempt to save what she loves. Chu finds the emotional core of each of these numbers and amplifies them to the cinematic proportions they deserve, even as his direction fails in other aspects.

    The final act, torn directly from the stage version, finally reaches the levels of greatness set by the first movie. And that is because at its core “Wicked” is a story about two women that in finding compassion in their differences drive each other to be better people. Erivo and Grande seem to understand that as they sing the title number to each other. Somehow they fill the space between the characters with all the hopes, regrets and words unsaid between them. It is movie musical magic. Despite its flaws, the booming crescendo of the piece, which has the characters facing uncertain futures, is deeply felt. It leaves you missing them as the screen fades to black. It is the raw and plain power musical theater captured on film. 

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  • ‘Wicked’ defies expectations, a fearless movie-musical | movie review

    ‘Wicked’ defies expectations, a fearless movie-musical | movie review

    Wicked, the long-awaited adaptation of the smash Broadway musical, finally flies its way into theaters

    Wicked is a bold, vibrant movie-musical that celebrates its Broadway roots with expansive musical numbers and captivating performances. Director Jon M. Chu’s adaptation embraces the magic of the original, expanding the world and deepening the characters. With stunning chemistry between Ariana Grande and Cynthia Erivo, this film is a must-see for musical fans.

    Wicked is in theaters on Nov 22.

    In recent years, there’s been a troubling trend of studios shying away from marketing their movie-musicals as… well, musicals. The Mean Girls remake famously didn’t show any songs in its trailer (and some audience members were shocked when the characters started singing), and director Todd Phillips humorously insisted his movie Joker: Folie à Deux wasn’t a musical. When asked to describe it he basically defined what a musical is. That’s why director Jon M. Chu’s adaptation of the Broadway hit Wicked (sometimes subtitled The Untold Story of the Witches of Oz) is such a refreshing and magical experience. With expansive, dynamic musical numbers that fill the screen, a fast-paced rhythm, and larger-than-life characters, Wicked is proudly and unapologetically a musical.

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    Full disclosure: I didn’t grow up with a deep love for Wicked. In fact, I was actively not a fan (I was more of an Avenue Q person during the great Broadway war of 2004). Maybe there was some personal bias there, but I’ve always felt that Stephen Schwartz’s iconic score and the dazzling production were overshadowed by a plot-heavy story, uneven pacing, and underdeveloped characters. That’s why, despite the backlash from some fans, I actually thought splitting the movie into two parts—keeping the two acts of the stage musical separate—was a smart choice. And I’m happy to say, I was right.

    One of the smartest decisions in Wicked’s adaptation is knowing where to expand the story. Sticking mostly to the first act of the musical, the film opens with Glinda the Good (Ariana Grande) announcing to the citizens of Munchkinland that the Wicked Witch of the West is dead. The townspeople rejoice, dancing and tearing down wanted posters of the green-skinned witch, even burning a wicker statue of her ominous figure. From the very beginning, Chu’s grand and vibrant direction is on full display, with dancers filling every corner of the set (and yes, it’s a real set, not CGI!). Christopher Scott’s choreography matches the large-scale action, adding drama and flair. While the design clearly nods to The Wizard of Oz, it takes creative liberties, modernizing and expanding the world.

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    The plot quickly jumps to a flashback of Glinda’s first day at Shiz University, when she was known as Galinda Upland. She’s eager to impress the headmistress, Madame Morrible (Michelle Yeoh), and learn sorcery. But things take an unexpected turn when the green-skinned Elphaba (Cynthia Erivo)—who will later become the Wicked Witch—accidentally unleashes her powers while protecting her wheelchair-user sister, Nessarose (Marissa Bode). Morrible, impressed by Elphaba’s abilities, invites her to study sorcery, which sparks a rivalry with Galinda. This rivalry sets the stage for a story of self-discovery, friendship, and unexpected bonds.

    In a lesser movie-musical, certain moments, like Elphaba’s backstory, might have been relegated to just dialogue. But in Chu’s hands, even these moments maintain the talk-singing style of the stage production, keeping the story flowing with rhythm and energy. The screenplay by Winnie Holzman and Dana Fox takes its time, fleshing out the world and its characters. The students at Shiz, for example, become characters in their own right, thanks in part to Galinda’s hilarious minions (played by Bowen Yang and Bronwyn James). The expanded focus on Ozian history, including talking animals, gives the story a deeper sense of lived-in complexity.

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    But what really sets Wicked apart is how the film brings its most iconic musical moments to life on a grand cinematic scale. Take Fiyero (a charming Jonathan Bailey), who performs the joyful and rebellious “Dancing Through Life” in a Shiz University library that’s been transformed into a spectacular set. Bailey and his dancers glide, twirl, and leap across bookshelves in a thrilling, acrobatic performance that feels both theatrical and cinematic.

    At its heart, though, Wicked is a story about two young women who find friendship in each other. Erivo’s Elphaba, ostracized and defiant in the face of bullying, delivers her first major song, “The Wizard and I,” with a stunning vocal performance that conveys both her strength and vulnerability. Her portrayal adds layers to the character, making her feel even more complex than in the stage version.

    On the other hand, Grande’s portrayal of Glinda is effortlessly comedic, capturing the character’s ditzy, privileged, and slightly bratty nature. At times, she completely steals the scene, nailing the character’s comedic timing and delivery. Her performance during “Popular” is pure musical theater golden camp—her take on the iconic scene feels fresh, like it’s always been meant to be performed that way. It’s an Oscar-worthy turn.

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    But it’s the chemistry between Erivo and Grande that makes Wicked* soar. Their dynamic is electric, and their energy together makes it easy to believe in their growing bond, even as they face adversity. As the two of them venture to the Emerald City to meet the Wizard (Jeff Goldblum), their connection feels real, and the final half-hour of the film—culminating in the iconic “Defying Gravity” number—is breathtaking. With thrilling action, musical perfection, and two watershed performances, it’s a moment that encapsulates everything that makes Wicked so special.

    Will Wicked have mainstream appeal? That’s yet to be determined. However, its fearless approach to adapting a Broadway musical for the screen will have fans and skeptics leaping to their feet. It captures the raw feeling of watching live theater. The kind of live theater that makes your heart skip a beat and makes you stare in wonder at the sheer talent and audacity. Then again, that’s what it takes to defy gravity.

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    Hey! I’m Karl. You can find me on Twitter and Letterboxd. I’m also a Tomatometer-approved critic.

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  • ‘Widows’ review — Viola Davis leads the best movie ensemble of the year

    ‘Widows’ review — Viola Davis leads the best movie ensemble of the year

    Widows is successfully a thrilling heist movie, emotional character study, and dissection of our current social climate.

    Widows is based on the 1983 British television show of the same name, but you wouldn’t know that watching Oscar-winning director Steve McQueen’s adaptation from a screenplay written by Gone Girl scribe Gillian Flynn. The film, which changes the location from London to Chicago, is distinctly American.

    The themes ranging from corruption to police shootings to race to the wealth gap are covered with poignancy and impact. However, like all of McQueen’s films, including the Oscar-winning 12 Years a Slave, Widows is also a character study. It’s all packaged up neatly in a twisting heist thriller that makes it one of the most compelling, and best, films of the year.

    Widows begins with Veronica (Viola Davis fresh off her Oscar win for Fences) and Harry Rawlings (Liam Neeson) waking up in their sun-drenched Chicago high-rise apartment. Smash cut to four masked men stumbling into a van. One of them is injured and one of them is revealed to be Harry. After a brilliantly captured car chase, the men are brought down in a hail of bullets before their van ultimately explodes.

    However, Veronica doesn’t have much time to grieve as Jamal Manning (Brian Tyree Henry), a crime boss turned alderman-candidate, with his brother Jatemme (Oscar-nominee Daniel Kaluuya of Get Out fame), who acts as his muscle, come to Veronica demanding the $2 million that her husband stole from them.

    Henry and Kaluuya both give menacing performances. Henry is a sneering devil who is calm and composed until he’s not. Kaluuya is similarly, and eerily, quiet, but is unpredictable in his explosive actions, like in Get Out so much of his performance happens just in his face.

    Veronica, who is eventually led to her late husband’s journal by their driver Bash (Garret Dillahunt), recruits the other widows of Harry’s deceased crew to help her finish the job he outlined in his journal to clear his debts and start a new life for herself.

    The other widows, Alice (Elizabeth Debicki) and Linda (Michelle Rodriguez), also have reasons to pull off the heist. Linda lost her store after her husband’s passing and is having trouble supporting her kids with her mother-in-law breathing down her neck. Alice, also looking for money, turns to escorting at her mother’s (Jacki Weaver in a great one-scene performance) suggestion and is eager to get out of it.

    Widows
    Elizabeth Debici, Cynthia Erivo, and Michelle Rodriguez in Widows.

    However, their planning and execution of the heist is not the center of the story. It’s thrilling and suspenseful, especially when Hans Zimmer’s beaming score is supporting it, but it’s not the main propulsion of the story. Instead, it’s the widows themselves that are the narrative and emotional drive as we watch them navigate life after losing their husbands and finding strength in a society that undercuts them as women.

    All the while, in the background, a story of political intrigue plays out as the contentious election between Manning and Jack Mulligan (Colin Farrell) the son of the current alderman of the 18th Ward (Robert Duvall). There, we also confront McQueen’s interest in adapting this story specifically in Chicago and at this time in our political history. 

    The main theme of Widows can be boiled down to dichotomies in our increasingly polarized country. Those lines, drawn across race, wealth, and gender, are captured visually through Sean Bobbitt’s stunning cinematography.

    There are physical separations between each side. In one of the best scenes of the movie, and perhaps of the year, Mulligan, leaving a campaign event, climbs into his limo. However, the camera doesn’t follow him in. Instead, it’s fixed on the hood of the car showing us the neighborhood turn from abandoned lots and distressed storefronts to tree-lined suburban streets with ivy-covered mansions within minutes. It emphasizes the modern-day segregation in Chicago.

    The balancing act McQueen pulls off with the film is impressive. It succeeds on every field it’s playing in. However, if there’s anything takes Widows from good to great, it’s the performances. Every single actor has their moment. Kaluuya and Henry are worthy villains. Cynthia Erivo, who plays a single mother who helps the widows, turns in more great work after nearly stealing Bad Times in the El Royale last month. Carrie Coon and Garret Dillahunt do great work in small roles. Duvall and Farrell make a great onscreen father and son team.

    But the real success her comes from the performances of Michelle Rodriguez, Viola Davis—giving another powerhouse performance—, and particularly, Elizabeth Debicki, whose heartbreaking, funny, and charismatic performance as Alice ranks as one of the best of the year.

    At one point, a cop says, “he should burn in hell, but hey, Chicago will do.” In Widows, Chicago stands in as a microcosm of the United States. Racial tensions are the highest they’ve been in decades, police shootings are on the rise, the wealth gap is turning into a chasm, and women have to fight against a system that oppresses them every day.

    Flynn’s smart screenplay and McQueen’s always stylish and steady direction guide the film through those nuances and the result is nothing short of extraordinary. Widows boast the best cast of the year and is sure to be that rare film that bridges the gap between arthouse and mainstream.

    Widows is in theaters now.

    Karl’s rating: