Movies Extravaganza 25: WICKED, MOANA 2, THE LAST SHOWGIRL, CONCLAVE, EXHIBITING FORGIVENESS, SUPER/MAN: THE CHRISTOPHER REEVE STORY

I saw the staged musical Wicked at the Academy of Music in Philly over 20 years ago and don’t remember anything other than the obvious about it. I suppose the animal oppression was always a part of the storyline? If so, 20 years ago I must have brushed that aside, but it certainly resonates with me now.

But social politics aside, even from someone who doesn’t know the musical all that well, it’s easy to see Jon M. Chu, known for his ability to blend spectacle and emotional depth (Crazy Rich Asians, In the Heights), once again proves himself a talented storyteller, crafting a version of Wicked that feels both timeless and modern. He transforms the beloved stage musical into a dazzling cinematic experience that seems to honors its roots. The film’s production design is a feast for the eyes—lush greens, shimmering golds, and intricate details make every corner of this world feel alive. Shiz University, with its towering spires and ornate halls, seems to captures the whimsy of the stage production while adding cinematic grandeur.

A good production can only deliver so much, it’s Cynthia Erivo and Ariana Grande, whose performances are as magical as the Land of Oz itself. Erivo, breaths a youthful energy and vulnerability into Elphaba, whose struggles with identity and belonging are universal and poignant. When she sings “Defying Gravity,” it does not disappoint!

Grande’s Glinda (or Galinda, as she insists at first) provides much of the film’s humor, infusing the role with a charming blend of comedic timing and sincere warmth. She balances Glinda’s vanity and growing self-awareness into an adorable transformation. Whether she’s fluttering about in a puff of pink or delivering a hilariously over-the-top rendition of “Popular,” Grande is a delightful counterbalance to Erivo’s gravitas.

The supporting cast is just as impressive. Michelle Yeoh is regal and commanding as Madame Morrible, Jonathan Bailey brings roguish charm to Fiyero, and Jeff Goldblum as the Wizard is as quirky and magnetic as you’d expect. Even smaller roles, like Bowen Yang and Bronwyn James as Glinda’s snobbish sidekicks, shine with comedic bite.

Chu captures these witches evolving bond of friendship with a sensitivity that reminds us why Wicked has endured: it’s a story about acceptance, love, and the complexities of choosing your path.

contention.  Rating: 3.5 outta 5

Conclave invites us into a shadowy world of sacred rituals and unspoken truths. Adapted from Robert Harris’ 2016 novel, full of intrigue with a storm of secrets swirling within the Vatican walls. From the moment Cardinal Lawrence (Ralph Fiennes) enters the Sistine Chapel for the secretive papal election, Edward Berger immerses us in the awe-inspiring yet stifling atmosphere of this world. Both juxtaposed between towering frescoes and the claustrophobic confines of locked chambers, capturing the paradox of the divine and the corrupt.

The film is less about the vote itself and more about the forces manipulating it. Every cardinal seems to carry a burden—whether it’s ambition, fear, or shame—hinting that their robes might not be as pristine as they appear.

The ensemble cast, featuring Stanley Tucci, the aforementioned Ralph Fiennes, John Lithgow and Isabella Rossellini, all delivers layered performances and yet, they take me out of the story. It’s odd how this only happens with certain movies, where I wish I didn’t know any of the actors. That somehow the whole thing would benefit from more reality with an unknown or barely known cast.

Still, the film’s pacing is good. The Dan Brown type sensational elements of the movie in the second half, completely change the vibe; yet doesn’t take away from the main point – the weight of leadership within the Church, but also, more universally, into the moral dilemmas we all face when power and truth collide.

  Rating: 4 outta 5

OMG just a day of sadness. First, from 1-4pm I was the videographer for a female film collective, SIFTMedia 215, who hosted a Community Event called GOOD GRIEF. Consisting of a collection of short films based on poems around grief. It included a Talkback with grief counselors, the poets, filmmakers and the attendees sharing about loss and grief of all nature. It was beautiful and so loving, but so sad. I even shared about my mother’s passing Feb 2023.

Then I get home and look to my list of screeners I need to watch for Philadelphia Film Critics Circle nominations, and next up is “Super/Man: The Christopher Reeve Story”. Despite knowing the remainder of Reeve’s life was spent in a wheelchair, paralyzed from the neck down, and fighting for research funding for the disabled; I think in my mind, I was looking forward to talking about Superman movies and “Somewhere in Time”. This, of course, is a part of the doc, but rightfully so, the bulk is about Reeve’s accident and how it affected his marriage, fatherhood, career and life.

This is not one of those bio-docs that tries to remain upbeat until tragedy befalls the subject. No. From the beginning you feel a pallor of melancholy all over it. Not at all helped by seeing so much of also deceased Robin Williams. I’d forgotten how close the two were.

Were Christopher Reeve and Dana Reeve resilient? Yes. Did his outlook on life become one of deeper connection and sense of purpose, after the accident? Yes. But seeing a man whose entire being was constantly in motion, really makes you wonder about life. How come this kinda thing never seems to happen to someone who was already a couch potato?

Just as I felt about my day at the Grief Event, I feel about this film – beautiful and loving, but boy do I need a brandy and a cigar and time to process all this sorrow.
Rating: 4 outta 5