WICKED: FOR GOOD (2025)

January 7, 2026

Greetings again from the darkness. Let’s get this out of the way upfront. My only issue with this sequel is that it exists at all. It’s pretty much the definition of a money grab. Why should a  successful stage production that lasted about three hours be turned into two films totaling almost five hours? There are only two possible answers: either more story to tell (nope, not here), or more money to make (yep!). Now, I have nothing against studios cashing in on a good thing – especially these days, when tickets are difficult to sell. So, my one issue with the film, really isn’t much of an issue at all … in fact, I really enjoy the spectacular visuals and could watch Cynthia Erivo as Elphaba any time.

Jon M Chu is back in the director’s chair and the key players are back on screen. Ms. Erivo deserves recognition and awards for her remarkable turn as Elphaba, and Ariana Grande uses that stunning voice as Glinda the Good. Also returning are Jeff Goldblum as The Wizard of Oz, (Oscar winner) Michelle Yeoh as Madame Morrible, Jonathan Bailey as Fiero (and Scarecrow), Ethan Slater as Boq (and The Tin Man), and Marissa Bode as Nessarose.

Friendship and the inner-strength to do the right thing are the messages here. However, the truth is that messages are less important here than the breathtaking visuals – special effects, costumes, and gorgeous sets. The songs aren’t quite as memorable as those in the first film, yet the singing voices are still tremendous. Corruption and darker personalities are at play here, and Erivo and Grande handle the dynamic very well. The final twist is a welcome relief – especially for parents of younger kids.

As a reminder, these characters are based on the originals created by L Frank Baum, and the film is based on the musical stage play by Stephen Schwartz (music and lyrics) and Winnie Holzman (stage book), the latter of whom gets screenplay credit alongside Dana Fox. The source novel was written by Gregory Maguire. Certainly deserving mention are Production Designer (Oscar winner) Nathan Crowley, Set Decorator (Oscar winner) Lee Sandales, Costume Designer (Oscar winner) Paul Tazewell, and Composers John Powell and (Oscar winner) Stephen Schwartz.

WATCH THE TRAILER

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Posted by David Ferguson

WICKED (2024)

November 19, 2024

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

WATCH THE TRAILER

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Posted by David Ferguson

EVERYTHING EVERYWHERE ALL AT ONCE (2022)

April 5, 2022

Greetings again from the darkness. It’s bonkers, I tell ya’! Co-writers and co-directors Daniel Kwan and Daniel Scheinert, known collectively (by their choice) as “Daniels”, follow up their ‘farting corpse movie’ SWISS ARMY MAN (2016) with one that is somehow more bizarre, more audacious, and more fun. It’s one of the most innovative films I’ve seen in a while, and although I can point out influences, I’ve yet to come up with a movie comparison that seems just or fair.

Every small business owner can relate to the stress Evelyn Wang (Michelle Yeoh) is under as she attempts to organize her documents in preparation for an IRS audit of the laundromat she owns with her husband Waymond Wang (Ke Huy Quan). As if that’s not enough, her father is scheduled to arrive the same day. She knows Gong Gong (James Hong) is disappointed in his daughter for the husband and life she chose. And while being crushed with those two events, Evelyn’s strained relationship with her daughter Joy (Stephanie Hsu) continues to fracture as Evelyn wants to keep Joy’s girlfriend status with Becky (Tallie Medel) a secret from dear old conservative dad/grandfather.

That’s just about the end of the “normal” part of the story, other than Waymond has had divorce papers prepared, not for the purpose of ending the marriage, but with the hope that the threat might force Evelyn to have a real conversation with him about their relationship. Things start to get weird even before they head to the IRS meeting with an agent played with gusto by Jamie Lee Curtis, but while there, we get our first real taste of the fantastical trip we (and Evelyn) are about to take. Of course, I can’t really offer any description of the action that occurs, but nothing is spoiled if I tell you that some characters cross multiple dimensions and universes in an attempt to ‘save the world’. While doing this, they mix in some acrobatic martial arts that would make Jackie Chan envious.

It’s the rare film where the frenetic pace of dialogue keeps pace with breakneck action sequences. A fanny pack, trophies with an unfortunate shape, and blue-tooth type devices all play unusual roles here, and this film challenges everyone from the actors to the directors to the editors to the fight coordinators. You’ll likely recognize Evelyn’s husband as the grown-up version of the child actor who played Short Round in INDIANA JONES AND THE TEMPLE OF DOOM (1984), and daughter Joy is portrayed by Stephanie Hsu (a contributor to “The Marvelous Mrs. Maisel”), who gets to cover just about the widest range of character we’ve likely ever seen on screen. The estimable James Hong is a riot as Gong Gong. Mr. Hong is now 93 years old with an incredible canon of 450 credits in his 8 decades of work. His presence is quite crucial to the film. It should also be noted that, as we would expect, Jenny Slate shines in her brief role as “Big Nose”, a regular customer at the laundromat.

As terrific as the cast is, this is really a chance for Michelle Yeoh to bring her full arsenal to the role of Evelyn. She’s angry, frustrated, scared, courageous, and even adds her comic timing. Ms. Yeoh flashes her CROUCHING TIGER, HIDDEN DRAGON fighting skills, while also brining a regal presence to a film that requires a strong core. It’s no mystery that family and love can solve many of the world’s issues, and Daniels have delivered a wild ride that defies simple description. It’s a long one at 139 minutes, but you’ll thank me later for not saying much more than … it’s bonkers!

Opens in select markets on March 25 and April 1, 2022 and nationwide on April 8, 2022

WATCH THE TRAILER

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Posted by David Ferguson

CRAZY RICH ASIANS (2018)

August 16, 2018

 Greetings again from the darkness. With so much attention on this being a rare mainstream movie with an “all Asian cast”, it’s possible to lose sight of the fact that it’s much more than this generation’s THE JOY LUCK CLUB (1993). Director John M Chu has delivered a very entertaining, though a bit slick and glossy, crowd-pleasing romantic comedy with touches of cultural awareness. It also features a few noteworthy performances, including a star-making turn from Constance Wu (“Fresh Off the Boat”).

Based on the best-selling novel by Kevin Kwan, the screenplay is written by Peter Chiarelli (THE PROPOSAL) and TV writer Adele Lim. Rachel Chu (Constance Wu) is an energetic, American-born Chinese economics professor, and her boyfriend Nick Young is played by big screen newcomer Henry Golding. A successful and confident person on her own, Rachel, having been raised by a hard-working single mother (who fled China while pregnant), assumes her charming and handsome boyfriend is equally grounded. It’s not until she agrees to accompany him to Singapore for his best friend’s wedding that she begins to pry the truth – most of the truth – out of him. See, Nick and his family are quasi-royalty in Singapore … one of the wealthiest families in the city and country.

Upon arriving, Rachel quickly learns that Nick’s mother is certainly not open to the idea of her son, the company’s heir-apparent, having anything to do with a woman lacking the required pedigree – namely money and a Chinese legacy. Michelle Yeoh (CROUCHING TIGER HIDDEN DRAGON) plays the icy Eleanor Young, and is quite elegant in her disdain for Rachel, and in capturing the relationship between Asian mother and son. Some of the best scenes are the interactions between Rachel and Eleanor – each so eager to succeed in their polar opposite missions. Facing widespread accusations of gold-digging, Rachel retreats to the comfort of her old college friend Goh Peik Lin, played by a fast-talking and quite hilarious Awkwafina (OCEAN’S 8).

The humor is prevalent throughout, with some of it being quite outrageous. Ken Jeong and Koh Chieng Mun play Peik Lin’s parents … the caricatures of new money. Jimmy O Yang is the high-roller never-grown-up frat boy type responsible for the outlandish bachelor party; Nico Santos is Oliver, the self-titled ‘rainbow sheep of the family’; and Ronnie Chieng is the obnoxious family member everyone avoids. The comedy provided by this group prevents the dramatic elements from ever being too weighty for viewers. This holds true even with the short-changed sub-plot featuring Nick’s beautiful sister Astrid (a scene-stealing Gemma Chan) and her disintegrating marriage to another “outsider”.

Opulence and obscene wealth is on full display, leaving us a bit unsure (by design) exactly where the emphasis should be placed on the title. Although it has the required elements of a fairy tale, it’s certainly not run-of-the-mill. Cinderella allowed a kind-hearted woman to be rescued from slave labor and a basement bed. This Cinderella story doesn’t exactly rescue Rachel, who is a strong, self-made woman. Instead, it ups the ante by having her harshly judged … while in fact, she is the one who should be sitting in judgment – first of a boyfriend who was never honest, and then with a family who assumes she’s not good enough to be one of them.

In a tip of the cap the aforementioned THE JOY LUCK CLUB, Lisa Lu (now 91 years old) plays Kevin’s grandmother, the matriarch of the family, and one who has played a role in making Eleanor the protector of family and tradition. Eleanor’s guiding philosophy and contempt towards Rachel is summed up in her line, “All Americans think about is their own happiness”. It’s one of the moments where we do wish the film would dig a bit deeper and further explain the traditions and cultural differences that cause such venom spewing towards Rachel.

Director Chu has had a stream of poorly reviewed films (NOW YOU SEE ME 2, JEM AND THE HOLOGRAMS, G.I. JOE: RETALIATION, STEP 2), but that likely stops here. His social media montage early in the film is a visual feast, and the camera work (by Vanja Cernjul) over Singapore is stunning. The soundtrack offers Asian versions of some well-known songs, including Cheryl K singing “Money (that’s what I want)”, a Berry Gordy song which we are accustomed to hearing sung by John Lennon. Credit goes to casting as well, since Ms. Yeoh and Ms. Lu are Asian acting royalty, and Ms. Wu and the dashing Mr. Golding are sure to see their careers skyrocket.

The director and producers are also to be commended for making the rare decision of choosing art over money. They were so committed to the film finding a theatrical audience that they turned down huge bucks from Netflix for the rights. It’s a risk that will likely payoff for them. Is it a simple love story made complicated by family, economics, tradition, and class differences … or is it a story of tradition and wealth that attempts to salvage the purity of a love story regardless of class? Either way, it’s a relatable story and one that will surely entertain most anyone who watches. As a bonus, you’ll pick up a banana joke that you’d best not repeat.

watch the trailer:

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Posted by David Ferguson