"For all its ambition and cinematic pyrotechnics, Wicked doesn't feel like it's been opened up that much from the source, maybe because the play is already huge and eye-popping. So much of the show consists of speeches, tours, grand expositions - people speaking and singing to and with large crowds. That makes some organic sense in a stage production, but it can be wearying when translated to film. Reinforcing the sense of overarching allegory, the population of Oz is basically a blank mass of imbeciles, easily manipulated and fickle to a fault. They're all chorus, all the time. Meanwhile, we keep waiting for the main characters to show some delicacy of emotion, something subtle and human, something to make us care for them beyond their status as icons or symbols." - Bilge Ebiri
"Grande and Erivo give Stephen Schwartz's songs a tremendous vocal flourish that elevates the material even when the narrative struggles to find its footing in a cinematic context. The film pulsates with vibrant production design and a sense of wonder that attempts to recapture the magic of the stage, yet at times feels like it’s overdoing it. Cinematic adaptations often face the challenge of melding the grandeur of live performances with the intimacy of film, and Wicked's ambition may have overshadowed some key emotional beats in the process."
"While audiences are flocking to theaters for a chance to relive childhood memories and discover the world of Oz in a new medium, the critics are somewhat subdued in their reactions. Their voices range from joyful nostalgia to pointed critiques of the film's depth and emotional resonance. Even among dissenters, there's an acknowledgment of the leading performances and the sheer spectacle, suggesting that audiences might embrace the film despite any reservations critics express."
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