There’s a reason we’re still enchanted by Oz. From ruby slippers to flying monkeys, L. Frank Baum’s mythical universe is practically woven into our cultural DNA, reinvented with every generation. Now, “Wicked,” Jon M. Chu’s much-anticipated adaptation of the Broadway juggernaut, released on Nov. 22, aims to untangle the Wicked Witch of the West’s misunderstood legacy. What unfolds is a spellbinding (if uneven) first chapter that dances between spectacle and sincerity, buoyed by Cynthia Erivo’s performance as the emerald-hued antiheroine.

As the curtain rises on “Wicked: Part One,” we’re greeted not by Dorothy, but by a jubilant Munchkinland celebrating Elphaba’s watery demise. Ariana Grande’s Glinda, sparkling in pink and radiating peak pageantry, descends in her bubble to muse: Was the Wicked Witch really wicked, or just misunderstood? Cue the flashbacks, the soaring vocals, and enough CGI to make Oz feel like it swallowed the “Lord of the Rings” trilogy and asked for seconds.

The Odd Couple: Elphaba and Glinda

At its heart, “Wicked” is a tale of two witches whose reluctant friendship shapes the political and emotional landscape of Oz. Erivo’s Elphaba is the film’s anchor — raw, introspective, and disarmingly vulnerable. From her early days as an asparagus-tinted outsider to her broomstick-laden ascent into self-actualization, Erivo breathes life into a character long overshadowed by stereotypes. Her rendition of “The Wizard and I” aches with a quiet yearning, while the climactic “Defying Gravity” feels less like a showstopper and more like a mic drop. 

Grande’s Glinda, by contrast, is all about the extra. Drenched in saccharine charm and hair flips, Grande nails the role’s superficiality, though her comedic timing feels more rehearsed than instinctive. When Glinda performs “Popular,” she’s every overly-perky theater kid who’s practiced the same joke a hundred times in the mirror — it works, but only just. Erivo and Grande’s chemistry? Surprisingly electric. Watching these polar opposites evolve from frenemies to unlikely allies is one of the film’s most rewarding threads. 

Even Odder Couple: Grande and Erivo

Whether it be on the red carpet for the movie premiere or an interview, both Grande and Erivo have shed many tears over this film — so much so, they apologized for it on the air. Because the filming process for “Wicked” started over three years ago, the leading ladies have become something like sisters, and are even in tune with each other’s emotions — or are they? Lots of fans believe their chemistry and camaraderie is forced, being played up for show, and that underneath the curtain, they hate each other. 

The tactics the pair have brought to press tours have been memorable: It’s almost endearing to watch as Grande holds Erivo’s pointer finger as she cries because people have been “holding space” for the lyrics from “Defying Gravity,” and it’s humorous to hear Grande say that she’ll “take good care of [Glinda]” on a Zoom call after receiving the news that she got the part. The media has run rampant with every part of this press tour, and it hasn’t gone unnoticed.

A Visual Feast…or Overload?

Jon M. Chu leans into maximalism with the kind of fervor that screams, “Why use one set piece when ten will do?” Oz bursts with art deco architecture, whirling cameras, and costumes that seem pilfered from a fever dream collaboration between Issey Miyake and Gucci. It’s stunning — until it isn’t. There are moments, especially when Elphaba and Glinda visit the glittering Emerald City, where the film feels crushed under the weight of its own ambition, with Chu prioritizing visual fireworks over quieter, character-driven beats. (Note to Chu: Not every scene needs a CGI waterfall and lens flares.)

Still, when the extravagance lands, it dazzles. Elphaba’s first foray into magic at Shiz University is electric, Michelle Yeoh’s Madame Morrible commands the screen with delicious menace, and the show-stopping choreography of “Dancing Through Life” injects the otherwise bloated runtime with kinetic energy.

Themes That Hover Just Out of Reach

While “Wicked” flirts with deeper themes — prejudice, propaganda, and the dangers of blind hero worship — its social commentary is more garnish than main course. Elphaba’s fight for Oz’s marginalized talking animals feels timely, but the parallels are painted with a broad, heavy-handed brush. It’s poignant, but rarely provocative, leaving much of its potential impact waiting, hopefully, in Part Two.

Erivo Defies Gravity, Grande Watches From Below

Make no mistake: this is Cynthia Erivo’s movie. Whether she’s singing, seething, or simply standing in the frame, she commands attention in a way that elevates the entire production. Her portrayal of Elphaba is layered, oscillating between quiet despair and defiant triumph with ease. It’s a performance that not only matches Idina Menzel’s Broadway original but reimagines it for the screen, turning what could’ve been a cartoonish villain into a fully realized, heartbreaking hero.

Grande, though undeniably talented, feels more like a supporting act. She brings vocal chops and star power but struggles to imbue Glinda with the kind of depth needed to balance Erivo’s powerhouse performance. In fairness, the script doesn’t help, often reducing Glinda to comic relief instead of a true co-lead.

Verdict: A Flawed but Thrilling Prelude

“Wicked: Part One” isn’t perfect. It’s overstuffed, occasionally tone-deaf, and ends with the frustrating thud of a “to be continued.” Yet when it soars, it really soars, delivering moments of cinematic magic that remind us why this story has endured. Erivo’s Elphaba is worth the price of admission alone, and even at its messiest, Chu’s vision ensures Oz remains as enchanting as ever.

Now, if only we didn’t have to wait a year to see how it all ends.