This post was updated Nov. 24 at 9:13 p.m.

Under the weight of doubt, “Wicked” defies gravity – and for many, expectations.

Directed by movie musical wizard Jon M. Chu, the fantasy film floated into theaters Friday, just over 20 years after its Tony Award-winning counterpart debuted on Broadway. The beloved tale provides an unofficial backstory to “The Wizard of Oz,” detailing the unlikely friendship between the Wicked Witch of the West and Glinda the Good Witch in their time at university. Assuming the iconic – and highly coveted – roles of Elphaba and Galinda, leading women Cynthia Erivo and Ariana Grande are undeniably the beating heart of the project, anchoring every scene with nuanced performances and moving chemistry. And while its visuals occasionally lack a necessary theatrical flair, Chu’s Land of Oz is so beautifully constructed that it helps create a fuller, more magical story without dulling the lights of its legendary predecessor.

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The release of “Wicked” marks another title on the growing list of recent stage-to-screen adaptations – most of which were poorly received, including January’s “Mean Girls.” Fortunately, this film excels by taking full advantage of its cinematic potential, purposely employing grandiose visuals and ambitious shots to elevate the original story in imaginative ways. This is first conveyed to audiences during Elphaba’s introductory solo, “The Wizard and I.” While its Broadway number places Elphaba on a mostly bare stage, the film takes her across Shiz University, through an open field and under a vibrant mobile of stained glass, elegantly emphasizing its lyrics of boundless hope through an originally impossible use of space.

Nathan Crowley’s production design, which admirably consists of mostly practical sets, literally expands upon the world of Oz in a way that wholly immerses viewers within its enchanting universe. The geometrically pleasing Shiz University is refined and elaborate and made all the more realistic with detailed uniforms from costume designer Paul Tazewell. One of the story’s largest plot points, the growing discrimination against animal citizens on campus, is better stressed within the film’s visual landscape, where shadows and dark architectural elements heighten the chilling oppressive atmosphere.

If Oz feels like home, however, it is ultimately made possible because of the film’s transformative performances, which ensure audiences remain spellbound for the project’s complete runtime of two hours and 40 minutes. The Tony-winning Erivo unsurprisingly soars as Elphaba, blending humor and raw emotion into a portrayal that feels more grounded than it often does on stage. Proving to be a musical genius, she frequently experiments with fresh riffs and deliveries in songs such as “I’m Not That Girl” to personalize a vocal performance that undoubtedly drives the production.

And what might be more impressive is Grande’s run as Galinda, if only because her casting was so contentious as an established pop icon. In “Wicked,” whatever remains of Grande’s famous pop persona fully disappears beneath the glistening pink of her character – though it is not by magic, but evident hard work. She embodies Galinda in literally every movement, leading her performance with comically airy poise and bubbly dialogue execution. Grande – who got her start on Broadway, as many forget – completely transforms her singing as well, bringing a distinctly theatrical beauty to numbers such as “Popular,” arguably her best performance of the film.

Rounding out the Oscar-deserving portrayals is Jonathan Bailey as Fiyero, the dreamboat love interest of both protagonists. Bailey’s charm radiates from the screen in a truly unparalleled performance that he commands with confidence and softness all at once. His large-scale solo, “Dancing Through Life,” is one of the most exciting numbers in the production, amplifying his allure with intricate choreography and a hypnotizing rotating set.

Commendably, the film’s ability to fully engage its viewers tends to largely overpower its miscellaneous flaws. As first criticized in its trailer, the production occasionally falters in lighting and color grading, prioritizing a more pastel aesthetic over the vibrance that has become so closely associated with “The Wizard of Oz.” Additionally, Elphaba and Galinda’s pivotal journey to the Emerald City sadly falls short of expectations, as the set feels similarly subdued when compared to its opulence on Broadway.

But the largest problem with “Wicked” might also be one of its greatest strengths: the decision to split the original musical into two films. Though not advertised accordingly, this movie presents only the first act of the stage show, with “Wicked: Part Two” slated to hit theaters next November. Chu’s choice was a controversial one, but it has its benefits. Despite boasting a runtime longer than the entire musical, “Wicked” never feels tedious, and its extended scenes often allow for better contextualization and character development than its counterpart, such as with more time devoted to Elphaba and Fiyero’s relationship. Nonetheless, it is very clearly not a complete journey, which makes its storyline and overall ending fairly weak.

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However, while the film’s conclusion is poor, it is still overwhelmingly satisfying. “Wicked” ends with the iconic “Defying Gravity,” a number that begins with a heart-wrenching duet from both protagonists before launching into one of the most powerful solos in Broadway history. Brought to life with captivating direction from Chu, the moment feels genuinely magical, and Erivo’s astounding belts ring through the theater with palpable emotion. Usually, if live theater can do anything, it is change lives – there is nothing comparable to sharing a physical space with a deeply cathartic story. Yet with “Wicked,” and most notably, “Defying Gravity,” Chu captures this exact same feeling on the screen, leaving audiences with the confidence that they have been changed, for good.

With such bewitching optics and a purely good heart, it is clear that the love for “Wicked” will be unlimited.