2020-2029, Awards Season, Oscars, Ranking

97th Academy Awards: Best Picture Nominees ranked

Posted on March 1, 2025 by Martin: Through the Silver Screen

As the curtain comes down on another awards season, it is time for Hollywood to mark its biggest night. The damage caused by the LA wildfires in January has brought things into perspective and although it promises to be a night filled with usual celebrations, glamour and parties, there is undoubtedly a sombre backdrop to this year’s awards. My heart goes out to all those affected by these terrible tragedies.

Nevertheless, ten more films are looking to bag the top prize and walk away with the coveted prize of Best Picture and join an illustrious company of films which includes Parasite, The Lord of the Rings: The Return of the King and The Silence of the Lambs. In a year which gave us the first half of an adaptation of a beloved musical, a tense thriller set in the Vatican, a gnarly body horror, a musical biopic of one of the most influential artists of all time, a hilarious take on a not-so-Disney fairytale, and a 215-minute long historical epic. Not as strong as last year’s crop, but some excellent films nonetheless, and one that really doesn’t belong in this company.

Without further ado, here is my ranking of these films from worst to best, starting with…

10. Emilia Pérez

I always say that for every awards season, there is always going to be one film that I, for whatever reason, just do not vibe with or cannot understand why it has been nominated. This year, the film that stands out by quite a long way is Jacques Audiard’s Emilia Perez. I give this film all the points in the world for its originality and for the big audacious swings it takes. Anyone who says there is no originality left in cinema these days needs to look no further than this, a musical about a Mexican drug lord who undergoes gender reassignment surgery. You can’t get more original than that, however, originality does not make a good film.

The performances of its central three characters played by Zoe Saldana, Karla Sofía Gascón and Selena Gomez are all strong and it hits on some important themes. However, a key requirement for any musical is to have memorable musical numbers that will leave you singing them for days and weeks afterwards, and the musical numbers here just didn’t have that. Furthermore, given the film has attracted strong criticism from Mexico and the transgender community combined with the controversy of resurfaced tweets from Gascon cannot and should not be ignored. All these factors should severely damage its chances of winning any awards. The fact it is the most nominated film this year is truly head-scratching.

9. A Complete Unknown

Bob Dylan, a name instantly recognisable to countless people worldwide, is considered one of the greatest artists of all time. 40 studio albums and 21 live albums across a more than 60-year career is an extraordinary legacy, and it is no surprise that many filmmakers such as Todd Haynes and Martin Scorsese have made films centred on such a remarkable musician. Having directed 2005’s Walk The Line, a music biopic about Johnny Cash, James Mangold stage dives back into this world for another film about the man who has sold 125 million albums worldwide.

James Mangold could have easily taken the standard biopic approach and chronicled Bob Dylan’s life from his early years to the present. However, he focuses specifically on the early days of Dylan’s career in the 1960s, highlighting his encounters with his idol, Woody Guthrie, and his whirlwind romances with Elle Fanning’s Sylvie Russo, and Monica Barbaro’s Joan Baez. Throughout this period, Dylan grapples with the desire for artistic freedom while rising to mega-stardom. Timothée Chalamet delivers a strong, transformative performance as Dylan and Mangold’s direction hits the right notes. However, I just wasn’t invested in the story as much as I wanted to, and I feel this film is primarily aimed at passionate fans of Dylan, which is not me. That being said, ‘The Times They Are A-Changin'” is one hell of a banger.

8. I’m Still Here

In every awards show of the 2020s so far, at least one international film has competed for the top prize. Walter Salles’s film, representing Brazil, tells the harrowing true story of a woman’s struggle to uncover the truth about her husband’s disappearance during the 1970s, a time when the country was under military dictatorship. The film portrays a warm and sincere family dynamic set against the backdrop of sunny Rio de Janeiro, despite the ominous sounds of military aircraft flying overhead. It also highlights a historical period that many viewers may not be aware of, making it depressingly relevant given the alarming rise in dictators or aspiring dictators around the world today.

While the film could have conveyed more urgency, considering the family’s desperate situation, Fernanda Torres’s excellent and restrained performance in the face of authoritarian brutality makes it a worthwhile watch. Torres thoroughly deserves her nomination for Best Actress.

7. Nickel Boys

Throughout the years, many filmmakers have portrayed the harsh realities of racism in the United States, an insidious presence that unfortunately persists not only in the U.S. but around the world. However, these films have rarely explored this theme from a first-person perspective. This is what makes RaMell Ross’s film so visually striking, entirely unique, and profoundly unsettling to watch. Based on the 2019 novel by Colson Whitehead, the film centres on the friendship of two boys who are sent to an abusive reform school in Florida, where they must endure and survive the brutality they encounter.

The decision to tell this story from the first-person perspective is bold, powerful and innovative and captures the cruelty of this “school” unequivocally. However, it does get to a point where as ground-breaking as telling such a story from the perspective of these two the way the film is directed can work against it. Nevertheless, it remains an important and necessary watch given the pervasive ugliness of racism that remains pervasive in the US right to the present day.

6. The Brutalist

review

In today’s world of smartphones and social media, any film which exceeds three hours is bound to spark debate over whether such a lengthy runtime is justified. Even for the most ardent cinephile, a runtime of 3 hours and 35 minutes can feel like an endurance test. However, with the help of an intermission built into that runtime, Brady Corbet’s ambitious and pertinent drama of a Hungarian-Jewish architect striving to achieve the American Dream, filmed in glorious VistaVision, feels like a film that could have been made and released several decades ago. Unfortunately, the cacophonous bile spewed by supposed world leaders demonising immigrants and their legal bid to emigrate to a brand new country to make a new life for themselves, makes it all the more relevant in today’s political climate.

Its themes of striving to create something to leave a lasting legacy in your respective field, only to have numerous obstacles thrown in your way, are also very timely and topical. Despite that lengthy runtime, the clever use of a built-in intermission ensures the film seldom drags and I could have happily watched more, particularly as I felt the third act came to a sharp and abrupt halt which really took me out of the film and prevents it from becoming a true modern masterpiece.

5. The Substance

The sole film among this year’s nominees to be directed by a woman, and the first horror film to receive a best picture nomination since Get Out was nominated at the 90th Academy Awards in 2018. The Academy has not often embraced horror, particularly such gnarly body horror on display here. There has been an array of fantastic performances in horror films not getting the recognition they deserved (Toni Collette, Florence Pugh and Lupita Nyong’o in Hereditary, Midsommar and Us respectively to name but a few).

To see Demi Moore succeed where those aforementioned performances didn’t get the nomination they deserved is immensely satisfying. Coralie Fargeat’s fierce script is filled with biting social commentary about the ridiculous pressure society places on women, the absurd beauty standards women have to put up with compared to men and the pressures to maintain those standards in the face of getting old. Demi Moore and Margaret Qualley both give tour-de-force performances, with an absolutely insane third act that you will not be forgetting in a hurry.

4. Anora

review

I was quite nervous about watching the follow-up film directed by Sean Baker, even knowing that it had won the coveted Palme d’Or at last year’s Cannes Film Festival. This anxiety stemmed from my experience with his previous film, Red Rocket, which I found to be thoroughly repulsive and predatory. Thankfully, my worries about his latest film were quickly put to rest. Despite my many gripes with Red Rocket, Baker’s films give a voice to the marginalized in American society, and this theme is prominent in his hilarious and chaotic take on the classic Cinderella fairytale. The film follows a young New York sex worker who believes she has found her Prince Charming, only to discover that this particular prince has some rather unwelcoming parents and henchmen.

The entire film rests on her shoulders, and after delivering memorable supporting performances in recent years, Mikey Madison finally gets her well-deserved moment in the spotlight as the princess of this unconventional love story. Just don’t expect any ballgowns or happy-ever-afters.

3. Wicked

The first film of this year’s crop which was an undisputed box office juggernaut in 2024. It would be fair to say that given how popular (pun most definitely intended) the musical which inspired this film is, expectations were sky high as to whether the musical would translate to the big screen, which hasn’t always been an easy path. Fortunately, in the very capable hands of Jon M. Chu, the first part of this journey back to the land of Oz to explore the friendship of Shiz University students Galinda and Elphaba before their paths diverge into becoming the Wicked Witch of the West and Glinda the Good hit all the right notes. With those irresistibly catchy songs, and the incredible performances of Cynthia Erivo and Ariana Grande, the film defied expectations (and gravity), and we’re only halfway through the story. Wicked: For Good cannot get here soon enough.

2. Conclave

review

On paper, a film about a group of religious men in fancy robes going through a lengthy process of choosing their next leader doesn’t sound like it would be ripe material for a tense thriller. Yet in the same vein as The Brutalist, in a year when countless people went to the polls across the world, the release couldn’t have been more apt in a tense political climate. We have seen all too often in recent years, political figures who shouldn’t be anywhere near the seats of world government, scramble to obtain and retain power by any means necessary.

This kind of vain and power-hungry behaviour is unexpected from those who have dedicated their lives to serving an institution like the Catholic Church. However, Peter Straughan’s gripping script keeps the audience engaged as agendas clash, long-hidden secrets emerge, and these men participate in a nearly Game of Thrones-style struggle for the right to become the next Pope. Meanwhile, others grapple with crises of faith, questioning the very institutions they have devoted themselves to. A pulsating papal drama, with magnificent work from its ensemble cast, led by the ever-reliable Ralph Fiennes.

1. Dune: Part Two

review

The second film in this year’s crop that was an absolute behemoth at the box office, with the spice flowing in plentiful supply, as it continued the journey of Paul Atriedes on the vast and inhospitable world of Arrakis in his quest for revenge against the Harkonnens. Denis Villeneuve picked up where he left off to deliver a sequel that built on the foundations of its predecessor to give audiences a much bigger, darker and yes better film than its predecessor. The first instalment garnered ten nominations -and won six – at the 94th Oscars in 2022.

The fact that the second half of this masterful adaptation of Frank Herbert’s book only garnered six nominations is a gargantuan sandworm-sized injustice. I can only hope that the Academy is waiting for Dune: Messiah to give this visionary director his well-deserved dues. It is only a matter of time before Villeneuve gets an Oscar given his incredible contributions to cinema since he gained wider recognition in Hollywood in 2013.

Could/should have been nominated…

So, there we have it, there is my ranking of the ten films competing for Best Picture. However, with this, I always like to imagine what could have been. It is safe to say that even with some great films in this year’s crop of nominees, one film really stands out like a sore thumb as being unworthy of its place as a Best Picture contender, while with another I can see why it has received a Best Picture nominee, it wouldn’t have been my choice.

So with that in mind, if I had a ballot, out would go Emilia Perez and A Complete Unknown, and in their place, I would choose to nominate two from the following three films:

Sing Sing – It really surprises me, for a film which is all about the arts and the restorative power they can have to transform our lives and offer any of us an outlet to express ourselves, Greg Kweda’s life-affirming and powerful prison drama, would be a sure bet to receive a nomination for Best Picture, particularly given this wasn’t the strongest year for cinema. Colman Domingo continues his remarkable trajectory with a phenomenal leading performance which should be putting him in the running for Best Actor. His time will come soon, I am absolutely sure of that.

We Live in Time – Okay, cards on the table, I am a huge fan of Florence Pugh. Therefore, any film she stars in automatically captures my attention. Adding Andrew Garfield into the equation, in a heartachingly beautiful and devastating film about two people who meet and fall in love while battling a heartbreaking medical diagnosis. It all seems like the perfect combination to merit awards attention, particularly given the devastating performances of Pugh and Garfield. Yet throughout this awards season, this film has been completely overlooked and I am genuinely flummoxed as to why.

Challengers – Like We Live in Time, Luca Guadagnino’s steamy tennis drama is another film to have completely overlooked in this awards season, and while it admittedly was a bit of a long shot particularly given how early in the year it was released, I firmly believe it was good enough to have received awards attention for the incredible performances of Zendaya, Josh O’Connor and Mike Faist, its sharp screenplay, and the absolute serve that is the tubthumping score from Trent Reznor and Atticus Ross.

2020-2029, Film Feature, Ranking

Best Films of 2024

Posted on January 14, 2025April 22, 2025 by Martin: Through the Silver Screen

Another 12 months of cinema has come and gone, seemingly in a flash. While it was not marred by any strikes, the aftereffects of those strikes had a hangover effect on the year. Despite that, it has certainly been an interesting year for films, with the box office seemingly dominated by sequels, but in and among those sequels, there were plenty of original and exciting films. So without further ado, let’s look at the films that stand out as the best in 2024. My main criteria for selecting films for this list is whether I have watched them in the past 12 months. I will aim to include films that were released in 2024, according to IMDb. However, some films may not be available in the UK until later in the year, which could affect their eligibility for this list. Additionally, I haven’t seen every film released in the last year, so if you believe there’s a film that should be included but isn’t, please let me know. Lastly, as usual, while I have not reviewed every film here, grades do not determine the rankings. This is my list to highlight and celebrate the films which resonated with me the most and defined the past 12 months of cinema, As usual, there are some honourable mentions, films which are excellent and well worth your time but just didn’t quite make my list this year: Twisters [review]. Nearly 30 years after Twister caused a storm at the box office and led to a rise in the number of students looking to study meteorology, this standalone sequel came along and blew everyone’s expectations away with a riveting and timely story about the deadly impacts of Mother Nature and climate change, while providing further evidence that there is no stopping Glen Powell’s meteoric rise to superstardom. Civil War [review]. It was a brave decision by A24 to release this film in a bitterly divided United States of America in the run-up to a tense US Presidential election. However, by focusing on the horrors of conflict from the perspectives of photojournalists who risk their lives to document the hostilities from an objective lens, Alex Garland’s film captures the brutality of war in an unflinching and tense manner, with one scene, in particular, standing out as perhaps the most intense scene of the year, thanks to Jesse Plemons. Anora [review]. I think I was one of the very few people who utterly despised Sean Baker’s previous film, Red Rocket, due to its extremely unlikable lead character and the predatory nature of its central relationship. So I was delighted to see him redeem himself with this enthralling (fairy)tale of a New York sex worker who thinks she has the rest of her life set up when she meets a wealthy client, only to soon realise, she in fact does not. It’s an enthralling watch, with an absolutely phenomenal lead performance from Mikey Madison. Furiosa: A Mad Max Saga [review]. George Miller might be approaching his 80th birthday. Nevertheless, this visionary and madman director is showing no signs of slowing down as he revved back to the world of Mad Max for an enthralling prequel that charts the origin story of Imperator Furiosa, and how she became the badass who utterly stole the show in Fury Road. A very different film to that action bonanza with much more emphasis on character, but still delivering some truly incredible action scenes, and Chris Hemsworth as you have never seen him before. It deserved to do much better at the box office. Wallace & Gromit: Vengeance Most Fowl. Everyone’s favourite Northern inventor and his mute but very expressive dog return for their second feature film after 2005’s The Curse of the Were-Rabbit, for a thrilling adventure about the perils of modern technology, with the return of one of cinema’s most dastardly villains and criminal masterminds, Feathers McGraw. Nickel Boys. Plenty of films have often explored the ugly history of racism in the USA, but so rarely has it been captured in such a unique way by RaMell Ross in this harrowing adaptation of the novel by Colson Whitehead. The film focuses on the friendship of two boys as they must learn to survive the cruelty of a reform school in Florida. It’s not an easy watch by any means, but it’s a necessary one.

Honourable mentions honoured. Now, here comes the top 10…

10. Wicked

Going into this, I had absolutely no knowledge of the story, having never seen the stage show in any format, I only knew that it served as a prequel to the events of 1939’s The Wizard of Oz, and well its presence on this list, albeit at #10 indicates how much of a blast I had with this. After directing an adaptation of another musical with 2021’s In the Heights, Jon.M. Chu brings that magic touch to this adaptation of the insanely popular 2003 Broadway show that has taken the world by storm. Granted it is just the first half, having only adapted the first act of the musical, but Ariana Grande and Cynthia Erivo absolutely crush it with both their performances, and their singing, as Galinda and Elphaba, and I defy anyone to tell me that they didn’t get chills during the “Defying Gravity” sequence. Time cannot fly by fast enough to see Wicked: For Good cannot get here soon enough. Now if you don’t mind, I’m just off to listen to “Defying Gravity” again.

9. Sing Sing

If you’re reading this, there’s a good chance you have a passion for one particular form of the arts, specifically, cinema. However, the arts as a whole, be it theatre, music, painting or literature, offer so much to any individual person to explore and develop talent and express yourself. This is particularly true for the men at the centre of this captivating and life-affirming prison drama, as participation in the Rehabilitating Through the Arts programme, offers them an escape from the harsh and unforgiving surroundings they find themselves in and gives them a newly found passion for life. The film adds so much authenticity to its uplifting story by having former alumni of the programme play themselves, and at the centre of it all, is another magnificent performance from Colman Domingo, whose career is just going from strength to strength.

8. The Fall Guy

review

Stuntmen and women, these incredible people who risk their lives for our entertainment, yet somehow the industry has not found a way to honour their incredible feats of bravery into awards shows. While you’d hope that one day, these people will get their dues, this utterly delightful blast of pure popcorn fun offers a delightfully entertaining tribute. Filled to the brim with insane and committed stuntwork, director David Leitch and his incredible team of stuntmen deliver a glorious film which packs comedy, action and romance. If that was not enough, Ryan Gosling and Emily Blunt (in a further continuation of the Barbenheimer trend from 2023) share the most perfect, sizzling-hot chemistry.

7. Conclave

review

In the same vein, as Civil War was released during the year of a US election, it was fitting that a film featuring the election of the new leader of the Catholic Church was also released, as many people worldwide went to the polls to cast their ballots in elections. As is the case with the election of any world leader, it can be a fraught process with agendas and political power plays, all while engaging in backstabbing and squabbling in a vain and egotistical bid for power, because as one cardinal puts it: “No sane man would want the papacy”. Only this tension is compounded when some disturbing truths come to light. A very dialogue-heavy film, but when it is written this well and flawlessly acted by its cast, especially by the consistently brilliant Ralph Fiennes, it never fails to be utterly compelling to watch.

6. Inside Out 2

review

Inside Out is still to this day one of my favourite Pixar films as it was such an inventive and clever concept exploring what goes on in those brains of ours as we navigate this world. Therefore, those little voices in my head were a bit anxious when it was revealed a sequel was being worked on, but I needn’t have worried, since those geniuses at Pixar usually do not disappoint. Taking Riley as she navigates the crazy and utterly emotionally chaotic time that is puberty, with new emotions running amok (particularly the scene-stealing Anxiety voiced by Maya Hawke). It might lack the devastating emotion of its predecessor, however, this sequel retains that wittiness and extremely clever visual metaphors of the inner workings of the madness that is the human brain.

5. The Wild Robot

review

“Animation is cinema, animation is not a genre”. These words that were spoken by Mexican filmmaker Guillermo del Toro at the Oscars have never rung as true as they have this year when Inside Out 2 became the highest-grossing animated film of all time, and when you have studios producing arguably some of their finest ever work, such as this adaptation of the popular book series by Peter Brown. Parenthood is one of the most daunting yet rewarding journeys anyone could find themselves on. Even if you have never been through it yourself, you will find it hard not to be moved by this beautiful tribute to those who work tirelessly to bring us up from the moment we are born to the moment we leave the nest, especially if they are as dedicated to the job as Rozzum Unit 7134 (or Roz for short) is.

4. We Live in Time

review

Florence Pugh and Andrew Garfield, two of the UK’s popular actors, set the internet ablaze with their instant chemistry when presenting a couple of awards at the Oscars. That tiny glimpse of the rapport they had is fully on display here in this beautifully emotional story about one couple’s romance over the course of several years, while coming to terms with a devastating cancer diagnosis. A film, as the title suggests, reminds its audiences to cherish every moment they have. Pugh and Garfield are phenomenal in this film that will have you contemplating your life by the end, while also trying (unsuccessfully) to fight back tears. Those who know me will know Florence Pugh is one of my favourite actors working today. So, getting the opportunity to meet her and have a selfie with her, along with my wonderful friends Katie and Kelechi, after the screening was truly special and a moment I will be forever grateful for. For that reason, this film will forever hold a special place in my heart.

3. Challengers

review

Luca Guadagino’s filmography doesn’t exactly shy away from sensuality, passion and seduction, and all three were on very prominent display in what is his best film to date. A film about the desire to be the best at what you do (in this case winning at tennis) combined with a complicated love triangle. A love triangle in which the passion and love they have for each other at the start, is replaced with a rivalry which only grows more complex, bitter, and increasingly nastier as the years progress. Josh O’Connor and Mike Faist are scintillating to watch as former friends turned opponents, but the film’s aces are unquestionably Zendaya’s outstanding performance and the irresistibly catchy score by Trent Reznor and Atticus Ross. Game, set and match.

2. The Iron Claw

review

Growing up, I was really into wrestling in the late ’90s/early 2000s when the likes of The Rock, Stone Cold Steve Austin and Triple H were big stars. Yet, despite this, I knew next to nothing of the tragic legacy of the Von Erich family and the legacy they left on the world of wrestling. A moving story of the power of brotherhood in the face of unrelenting physical demands to be the best in the business to ensure they leave a lasting legacy on the sport. Like all brilliant sports films, it doesn’t matter if you are a devout wrestling fan or have no interest in the sport, it pulls you in with its impactful family drama, entertains you with the brilliant recreation of the wrestling matches, and will leave you down and out for the count by the time the credits begin to roll. Incredible performances by all, with a career-best performance from Zac Efron.

And so my favourite film of 2024 is..

.

1. Dune: Part Two

review

I feel like I am beginning to run out of superlatives to describe what a master filmmaker Denis Villeneuve is. Adapting the world of Frank Herbert’s Dune was said to be an impossible task, but Villeneuve showed the passion he has for the source material and through some incredible world-building brought Arrakis to life in spectacular fashion. However, Part One was a mere prelude to what Villeneuve had in store as he takes the foundations laid by the first film and turbocharges them to deliver an enthralling second film that features Paul Atriedes learning the ways of the native Fremen before striking back at the Harkonnens for orchestrating the death of his father. Filled with some of the most dazzling cinematography I have ever seen, every single member of the cast rises to the challenge, especially Chalamet and Austin Butler’s utterly psychotic villain Feyd-Rautha, and the maestro Hans Zimmer’s score is just perfection. Desert power is a form of power that cinema has not yet seen, the ultimate power. Bring on Dune Messiah.

————————————————————————————————

And that brings the curtain down on my list of the best the big screen had to offer in 2024. Thank you for reading, especially if you read all the way through! What were your favourite films of 2023? Let me know in the comments below or you can find me on the following platforms: Bluesky, Facebook or Letterbox’d.

2020-2029, Film Review

Wicked (2024)

Posted on November 22, 2024November 18, 2025 by Martin: Through the Silver Screen

**© Universal Pictures and Marc Platt Productions**

Wicked – Film Review

Cast: Cynthia Erivo, Ariana Grande-Butera, Jonathan Bailey, Ethan Slater, Bowen Yang, Marissa Bode, Peter Dinklage, Michelle Yeoh, Jeff Goldblum

Director: Jon. M. Chu

Synopsis: A misunderstood young woman forges a friendship with a popular student at Shiz University in the land of Oz…

Review: There is a very good reason The Wizard of Oz is considered a timeless classic and an iconic work of cinema which has stood the test of time. More than three-quarters of a century since Dorothy and her friends travelled down that yellow brick road, its enduring themes of finding your courage and the power of friendship, combined with the memorable music (for which it won two Oscars) and the iconic red footwear adorned by its lead character, contribute to its legacy. It is no surprise that in the years since, there have been numerous expansions to the wonderful world of Oz in various forms, including the 1995 prequel novel “Wicked: The Life and Times of the Wicked Witch of the West,” which later inspired a musical. A musical that has been seen 65 million times in more than 100 cities in 16 countries. Popular, indeed, but the road from stage to screen can sometimes be tricky to negotiate. Fortunately, in the hands of Jon. M. Chu, the first part of this adaptation truly soars.

Adapting the first act of the musical, Galinda (Grande-Butera) arrives at Shiz University and soon becomes eager to impress the school’s Dean of Sorcery Madame Morrible (Yeoh). There she meets Elphaba (Erivo), the misunderstood daughter of the Governor of Munchkinland. Elphaba has possessed magical abilities from childhood, but is mocked and scorned by society due to her green skin. After the duo are forced to room-share while at university, they forge the most unlikely friendship. This leads them both to visit the Wizard of Oz in the Emerald City before their paths diverge forever into becoming The Good Witch and The Wicked Witch of the West respectively.

When you have had music and lyrics that have enchanted theatre audiences for more than 20 years, it shouldn’t come as a shock that the music composed for the stage by Stephen Schwartz has remained unchanged for the screen. Likewise, for the dialogue, however given this first half is confined solely to the musical’s first act, it allows Winnie Holzman and Dana Fox’s screenplay to devote considerably more time to exploring these characters and fully fleshing out their backstories, particularly Elphaba. Villains can so often be misunderstood souls who are driven to their wickedness by the cruelty and mockery inflicted upon them by others, and Elphaba is one such soul. Disliked by her father since birth, while being kept at arm’s length by her disabled sister Nessarose (Bode), means she is more withdrawn and reserved, but doesn’t allow herself to let the bullies wear her down.

Galinda, by contrast, is the complete opposite of Elphaba. The vainglorious queen of Shiz University, always with a couple of faithful minions in tow and looking to stand out from the crowd, with an excessively pink wardrobe that could give Barbie a serious run for her money. While she initially joins the rest of the students in mocking Elphaba, she eventually becomes sympathetic towards her and strives to improve her popularity among the rest of the university’s students. As well as possessing terrific singing voices, the film’s magic lies in the chemistry between Elphaba and Galinda, and Erivo and Grande deliver magical performances. The latter might not have the most extensive acting resume to her name, but she effortlessly brings Galinda’s vanity to the core, demanding to be the centre of attention at all times. Yet, there is an endearing quality to her that you can’t help but love, particularly in those tender moments between her and Elphaba.

Without a doubt, Erivo and Grande are the stars of the show, though they are wonderfully supported by a quirky cast of characters, including the effortlessly charming Prince Fiyero (Bailey), and the stern yet compassionate Madame Morrible. Yeoh, reuniting with her Crazy Rich Asians director, to wonderful effect. Additionally, no film set in the land of Oz would be complete without the Wizard himself, portrayed perfectly by Jeff Goldblum, who brings his signature quirkiness to the role. Chu is no stranger to musicals, having directed 2015’s Jem and the Holograms and 2021’s In the Heights. Despite the latter’s truly spectacular musical numbers, Chu really steps up to deliver some truly showstopping musical numbers that will have you singing the songs for days and weeks afterwards.

Adapting such a beloved piece of storytelling that has cast a spell and bewitched its way into the hearts and minds of legions of fans was always going to be a tough ask, as adaptations of musicals can often go very very wrong. Yet, Chu has brought to the screen a very timely story about being unafraid of who you’re meant to be, to stick to your guns and not be intimidated in the face of bullies. A magical experience in every sense of the word, and the good news is, this is only the first half. Grab your broomsticks and pointy hats, because we’ll be venturing down the yellow brick road back to Oz again this time next year.