Greetings again from the darkness. Who is the good witch and who is the bad one? For those of us whose obsession with the classic 1939 film version of L Frank Baum’s 1900 novel has lasted from childhood through adulthood, it has always been crystal clear that the Wicked Witch of the West was bad and Glinda the Good Witch was so-named for obvious reasons. Then along came Gregory Maguire’s 1995 novel “Wicked: The Life and Times of the Wicked Witch of the West”, and the subsequent 20+ year Broadway run of the stage musical, which generated many new fans. And now we have a film adaptation of the stage production is directed by the talented Jon M Chu (CRAZY RICH ASIANS, 2018) with a screenplay co-written by Dana Fox (CRUELLA, 2021) and Winnie Holzman (who wrote the musical book for the stage musical). Could it be that the line between good and evil is not so clear? Or even that others have manipulated the situation to ensure a villain exists? I’m so excited for Oz fans to watch this.
Cynthia Erivo stars as Elphaba Thropp, the misunderstood, green-skinned outcast, and Ariana Grande Butera co-stars as Galinda/Glinda Upland, the rich, spoiled, popular kid. These two Grammy winners both deliver incredible performances with singing voices that leave us in awe. Ariana hits notes that seem otherworldly and Erivo is truly dynamic. It’s staggering to think much of their singing was performed “live” while acting. There is no way I’m going to spoil any of this, especially for those who have not seen the stage musical. Director Chu opted to keep the characters and songs from the musical, while adding even more detail to this film version.
Whether you prefer to label this a prequel or origin story, you should know going in that the complete story has been divided into two movies. The second part will be released in November 2025. This part one opens with Glinda gliding into Munchkinland to confirm the latest big news. She’s then persuaded to tell the backstory, which we watch in flashback form. We see the cutest ever newborn baby with green skin, and witness how Elphaba is mistreated in her own home in favor of her wheelchair bound sister Nessarose (Marissa Bode), to whom their father demands she offer protection as they head off to Shiz University in the Land of Oz.
Judging her strictly by her ‘different’ appearance, everyone’s favorite classmate, Galinda, immediately treats Elphaba as a misfit, leading others to do the same. When Madam Morrible (Oscar winner Michelle Yeoh) spots some hidden powers in Elphaba, she arranges for the two rivals to share a dorm suite. This initially causes the rift to grow, right up until things thaw and a friendship forms. During some of these scenes, Ms. Grande flashes true comedic timing with giggles, patented hair flips, and some real zingers embedded in her self-serving compliments. Along the way, Fiyero Tigelaar (Jonathan Bailey, “Bridgerton”), a charming and carefree Prince, crosses paths with the girls, creating conflicting emotions.
Of course, this is a musical, and the familiar songs are not only sung beautifully, but most feature some intricate choreography and acting as well. Erivo and Grande each get their standout numbers with “Defying Gravity” and “Popular”, respectively. We see Elphaba turn to activism and a quest for kindness and justice in a sequence involving Dr. Dillabond (voiced by Peter Dinklage), one of the last remaining teaching animals at Shiz. The tone shifts quickly once Elphaba and (now) Glinda head to Emerald City to meet the Wizard, played by a surprisingly reserved Jeff Goldblum. We are also struck by Elphaba’s quiet dignity on her path to transforming into her more famous role.
There are countless life lessons to be taken from this fantastical world filled with colorful characters, and it’s interesting to see political strategy play out in a way to create the villain we are told is necessary to unite Oz’s citizenry behind the cause. We are also reminded that there are two sides to every story, and even Glinda realizes this as she and her new friend come to a fork in the road – or a broom on the balcony – that will determine their future. It’s quite a journey for these two, and along the way we see the fabulous Oz train, the Wizard’s for-show mechanics, the Grimmerie (Elphaba’s magic book), and of course, the fabulous flying monkeys (responsible for so many nightmares since 1939). We even get appearances from Kristen Chenowith and Idina Menzel from the original stage production.
The film looks absolutely marvelous, and much of that is thanks to the incredible sets created for the film … so much better than the heavy dose of green screen effects we’ve become accustomed to. Production Designer Nathan Crowley deserves mention, as does Paul Tazewell for the brilliant costume designs. The music is courtesy of John Powell and Stephen Schwartz (songs from the musical), and the choreography is from Christopher Scott. Oscar winner Frances Hannon delivers superb Hair and Makeup, while Director of Photography Alice Brooks and Visual Effects Director Pablo Helma give the film its remarkable look. We may have to wait a year for Part 2, where hopefully we discover how Glinda becomes sincerely good, but there’s little doubt this first part is memorable and worthy of multiple viewings.
Opens wide on November 22, 2024
Posted by David Ferguson 
Greetings again from the darkness. It’s been thirty years since Alex Proyas directed THE CROW (1994). Unfortunately, the cult favorite is forever remembered as being the set on which lead actor Brandon Lee (son of the legendary Bruce Lee) died an accidental and tragic death. Along the way, there have been lesser sequels. There have also been so many rumors of a re-boot over the last fifteen years, that I remained a bit doubtful until the opening credits actually began to roll.
Greetings again from the darkness. I thought the same thing. How can a movie featuring a giant talking macaw make any dramatic sense, or deliver a message that’s worth hearing? Well, the first feature film from writer-director Daina Oniunas-Pusic does just that. We know the best fantasy stories and fables are based on harsh realities, and there is no reality more harsh than the fact that death comes for all of us. Now, whether death comes by the Grim Reaper, an Angel of Death, or a talking, size-shifting red macaw may be up for debate, but filmmaker Pusic and the cast deliver an immensely creative and thought-provoking look at death and all stages of grief.
Greetings again from the darkness. Have you hugged a spider today? Adam Sandler has. Well, technically it’s his character who does the hugging. Jakub Prochazka, is a Czech astronaut 189 days into his year long mission. He’s flying solo on “the outskirts of Jupiter” to explore the Chopra cloud which is expected to reveal the beginning of time. Honestly, it feels like a job worthy of more than one man, however, that’s what the source material provides. Based on the 2017 book “Spaceman of Bohemia” by Jaroslav Kalfar, Johan Renck directs the adapted screenplay by Colby Day. Mr. Renck is not one that jumps to mind when thinking of an Adam Sandler movie. His previous credits include the excellent mini-series “Chernobyl”, as well as multiple episodes of acclaimed series, “Breaking Bad” and “Bloodline”.
Greetings again from the darkness. I’ll readily admit that I’m not an expert in outer space-based Science Fiction Romantic-Comedies. If you press me for a description of writer-director Michael Lukk Litwak’s film, it would be “WHEN HARRY MET SALLY … in future space”. Of course, this low budget flick is no match for Rob Reiner’s classic 1989 Rom-Com, yet the mismatched couple and the recurring spontaneous meetups does strike some familiar chords.
Greetings again from the darkness. So many people allow unresolved issues from their past to weigh down or complicate their efforts to live for today. Writer-director Andrew Haigh has loosely adapted the 1987 novel “Strangers” by Taichi Yamada most notably by a shifting of locale and gender. It features the powerful literary trio of loss, loneliness, and love, none of which come easy for Adam, played beautifully here by Andrew Scott.
Greetings again from the darkness. It appears as though I’m one of the few early viewers who walked away without having been beguiled or enraptured with this musical prequel to Roald Dahl’s 1964 story, “Charlie and the Chocolate Factory”. Full disclosure requires me to admit that I actually found it a bit dull, and that’s mostly due to the lead performance by Timothy Chalamet. I understand that he’s the hottest young actor working today, and brings along an entire fan base, but for me, Willy Wonka should have a twinkle in his eye, a spring in his step, and enough charm to draw folks in … even at a younger age.
Greetings again from the darkness. Greek filmmaker Yorgos Lanthimos is possibly the most divisive director working today. Movie goers tend to either love his films like THE FAVOURITE (2018), THE KILLING OF A SACRED DEER (2017), THE LOBSTER (2015), and DOGTOOTH (2009) or walk away baffled that any decent human being could enjoy such dark works of strangeness and oddity. Despite this, two of his films have received Oscar nominations, and this latest may be both his most accessible and most outrageous project yet. It’s also a rare outing where Lanthimos left the writing to others. His co-writer on THE FAVOURITE, Tony McNamara (“The Great”) has adapted the screenplay from the 1992 novel by renowned Scottish writer Alasdair Gray, whose tome was influenced by Mary Shelley’s “Frankenstein”.
Greetings again from the darkness. Fast approaching his 83rd birthday, legendary Japanese animator Hayao Miyazaki claims this is the final film of his illustrious career. In 2015, he was presented with an honorary Oscar, and he has had three films nominated for Best Animated Feature: THE WIND RISES (2013), HOWL’S MOVING CASTLE (2005), and Oscar winner SPIRITED AWAY (2002). His career in animation dates back to the early 1960’s and this latest, which took six-plus years to complete, proves he is still amongst the best.
Greetings again from the darkness. David Bowie’s 1975 song “Fame” has a line, “Fame … what you get is no tomorrow”, and that stuck with me during the second half of this terrific and wild film from Norwegian writer-director Kristoffer Borgli (SICK OF MYSELF, 2022). Borgli not only tackles the issue of sudden fame and the weight that goes with it, but he also comments on ego and today’s cancel culture. Subtext runs throughout a film that feels descended from the mind of Charlie Kaufman and/or Spike Jonze.
Movie Reviews from the Dark 