Last year, the first Wicked movie over $114,000,000 at the U.S. box office opening weekend as well as $164,200,000 worldwide. Not only that, but it also set records as the biggest global and domestic opening for a stage-to-screen musical adaptation, beating the worldwide opening of 2012's Les Misérables and domestic opening of 2014's Into the Woods.
Pitting Henry and Uranowitz against each other also increases Nicholas Christopher’s Tony chances for CHESS"
Perhaps. But as good as Uranowitz is as Tateh— and he’s excellent - the show belongs to Coalhouse and Henry is stunning so I wouldn’t expect Uranowitz to pull many votes (and he already has a Tony). Meanwhile, Henry has been turning in great performances for years and so given that R
HenryTDobson said: ""I’d be genuinely shocked if both Cynthia and Ariana didn’t score Oscar nominations (I think Ari has a real shot at winning)."
I have seen a number of predictors now questioning whether or not they'll even be nominated at this point. Even if Grande makes the Best Supporting Actress lineup, I still have a hard time seeing her win. The Academy can be pretty snobby towards fantasy characters. It's arguably why Ian
jlindsey865 said: "rosscoe(au) said: "No one is getting nominated for this. The more I think of it the messier it becomes. Which is strange cause for me on stage I think Act two is stronger. I did think the same as Jordan that maybe a double feature would work. Sadly I can’t see myself sitting through this again."
Most prediction sites have Wicked: For Good landing a Best Picture nomination (it’s definitely not winning but I think it will def
Unfortunately the trap door reveal remains in the film. It always felt cheap and silly on stage, and isn’t much better here. It also doesn’t make sense. Elphaba sees Fiyero as the scarecrow for the first time after the trap door, but when did they come up with this escape plan?<
Earlier today, I caught Wicked: For Good in theaters. Now that I’ve seen both parts, I’d say splitting this into two movies was the best decision the creative team made. If you’re familiar with the source material, you should know that Acts I & II both have very different tones. Gone is the more bright and vibrant tone of the first film, and it’s been traded for something much more serious. Similar to other musicals with darker second acts such as Oliver!, Fiddler on the Roof, and Ragtime. One of the complaints people had with Rob Marshall’s 2014 film adaptation of Into the Woods was how it adapted both acts into one movie (especially with its change of tone midway through). With Wicked split into two parts, it at least gives the story more breathing room.
Under Jon M. Chu’s direction, he successfully carries on a lot of the strengths of the first film into this one. The musical numbers are still mesmerizing to behold. Both Nathan Crowley’s production design and Paul Tazewell’s costumes continue to dazzle, Although Frances Hannon’s hair and makeup is even more impressive this time. A chief complaint people had last time was Alice Brooks’ cinematography. Does it still contain some plain white lighting? Yes, but the actual camera work is still easily the better part of it. As this installment follows parallel storylines for Elphaba and Glinda, Myron Kerstein’s editing impressively manages to balance out both of them.
Once again, screenwriters Winnie Holzman and Dana Fox successfully dived deeper into the story, characters, and world of Oz. Although Stephen Schwartz also managed to beef up some of his score from Act II of the stage version (especially in the beginning), which was a nice touch. He also wrote two brand new songs, ‘No Place Like Home’ for Elphaba and ‘The Girl in the Bubble’ for Glinda. Having as of now only heard both of them once, they have good intentions, but neither are particularly memorable. Yet Cynthia Erivo and Ariana Grande do at least perform both of them very well. Speaking of which, both ladies once again kill it in their respective roles.
Erivo’s Elphaba in particular has grown a lot since the last time we saw her. She may still be an outsider, but not just because of her green skin, but because of the enemy she’s been painted as by the public. Her big standout moment was easily her powerhouse rendition of ‘No Good Deed.’ With Grande’s Glinda, she may still be funny, but also works well with meatier material this time around. Together, they both share such a heartwrenching rendition of the second act’s most popular (no pun intended) number, ‘For Good.’ I must say that it’s hard not to tear up during it. Jeff Goldblum may still be more of a talk-singer, but he at least does fare better this time with his rendition of ‘Wonderful.’ Not to mention that Michelle Yeoh really comes into her own here as the true villain of the story, Madame Morrible.
How does Wicked: For Good compare to the first movie? Many will understandably prefer the latter for its bright tone and arguably more memorable songs. Plus, the story beats in the second half with the more recognizable characters from The Wizard of Oz are kind of oddly put together. The end results are probably not as accomplished as its predecessor. With that being said, it’s still a satisfying conclusion to this epic two-part adaptation of one of the biggest musicals of all time.
In her review for Next Best Picture, Lauren LaMagna, who gave the first film an 8/10, gives the second one a 7/10. https://nextbestpicture.com/wicked-for-good/
Dan Bayer of Next Best Picture writes "Act Two of Wicked is the reason I don’t like Wicked (on stage), but since the changes to Part One added depth, I was cautiously optimistic for this. Sadly, not all the book problems get solved, but Erivo and especially Grande yet again make the most of the new material. The design elements remain delectable, but the muddy digital sheen over everything makes it look cheaper, more plastic, and some of the visual effects sequences look seriously shoddy. Combined with the story issues, it fails to fly as high as Part One, I’m sorry to say." https://letterboxd.com/dancindan/film/wicked-for-good/
MadsonMelo said: "I think Lea can still get a nomination, especially this season and given the praise the got for many reviews and I think people will want to ''reward'' her career somehow."
Although if she doesn't get nominated, it would be another example of how awards voters by and large clearly don't think like that. They're just voting for what they liked most and not judging based on narrative.
BoringBoredBoard40 said: "I really want to understand why Ariana after winning an Oscar is returning to the theatre to do a small obscure off-broadway musical
she really needs new management"
Given how rough of a filmography she's so far had since West Side Story, she arguably needed this.
quizking101 said: "There are only 4 potential nominees for Revival since MAMMA MIA did not submit for consideration and BEETLEJUICE is not eligible because of the less than 3 year turnaround between productions. I don’t think CHESS will win because it needed to be a knockout and had a lot of eyes on the book."
Although since there are (currently) four eligible candidates this year, there will automatically be three nominees. A fourth is possible, but only if th
EDSOSLO858 said: "In a more competitive musical season, I'd bet this would get zero Tony nods. (1 or 2 if the nominating committee were feeling kind?)
All three leads, the lighting design, and revival of a musical seems like a solid expectation for 2026."
Depending on how Cats and The Rocky Horror Show are both received in the spring, I wouldn’t be surprised to see this one left out for Best Musical Revival.<
quizqueen101 said: "The Tony voter I saw a show with the other day was telling me how she’s never been impressed with Levy. And that was even before I mentioned my distaste for her. Caissie is not Tony caliber. She’s not enough. She’ll never be nominated for a Tony."
This sounds like something out of Scott Feinberg's brutally honest Oscar ballots. One may not always agree with what the voter says, but they're always fun to read.
BJR said: "Condon wasn't referring to how his film was performing (wow this is like a game of Telephone!). He was saying why they went the independent path to making this film, so he could make it how he wanted.
He was saying streamers are no longer interested in **making** musicals because of those metrics of folks turning them off. Of course blockbusters like Wicked will do well once they arrive on streaming. (Hamilton is the once-in-a-generati
John Adams said: "Jeffrey Karasarides said: "As Bill Condon recently talked about in an interview with Pete Hammond of Deadline Hollywood, 'So many movies are made by streamers and they don't like musicals. They tried, it didn't work for them. Netflix famously has this metric that, you know, 'when do people turn it off?'."
Daisy Crumpler said: "I'm so sad and disappointed in how little fanfare there was for this film.
I'm a complete civilian, but seems like the producers went out of their way to give the film a wider theatrical release instead of partnering with a streaming service. The musical numbers definitely deserve to be seen on a big screen, but I wonder if they had partnered with Netflix or Amazon initially, would there have been a larger ad campaign? Streaming services will
BJR said: "everythingtaboo said: "I doubt it'll ever see a Broadway stage again, but I can certainly hope it renews enough interest for a revival in the West End, or at least more regional productions."
You're not going to see regionals any time soon as they've been trying to raise funds for a Bway revival.
Very curious to see if that still is true though..."
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