[Source: AP]

“Give us a clock tick” is an expression uttered several times in “Wicked: For Good.” But Jon M. Chu’s two-part musical has asked for quite a bit more than that.

Together, the two halves of this “Wicked” adaptation have run 297 minutes, which, more than the threat of lions and tigers and bears, is enough to make any moviegoer not entirely bewitched by the “Wizard of Oz” revision breathe a sigh of “Oh, my.”

So it’s a lot of clock ticks, quite a few more than the stage musical, which had roughly half the runtime. But “Wicked” has always been a spectacle of scale: power ballads and sprawling sets, all in retina-testing technicolor.

Muchness is part of the point of “Wicked,” a song-and-dance assault of allegory and anthems relayed with an earnestness that you might call endearing if you’re good or tiresome if you’re, well, you know.

For anyone in the former camp who somehow felt last year’s part one wasn’t enough, “For Good” will probably be a very welcoming second helping. Since these films were shot at the same time, much of the tone and tenor of the first chapter continues in “For Good.”

There’s more Cynthia Erivo, more Ariana Grande and more soaring soliloquies. For most “Wicked” fans, more is good.

But for those of us who felt — what’s a non-wicked way to say this? — mildly waterboarded, in pink and green, by “Wicked,” “For Good” doesn’t offer much relief.

There is, to be sure, great talent on display in these films, particularly in the case of Erivo. But “For Good,” like its predecessor, often feels more like a Production than a movie, with characters shuffled on and offstage with Oz-like orchestration.

That may be an unavoidable aspect of a pop amalgamation like “Wicked.”

This is a big-screen adaptation of a 2003 stage musical (Winnie Holzman and Stephen Schwartz) based on a 1995 book (Gregory Maguire) inspired by a 1939 movie (Victor Fleming and company) and the original 1900 “The Wizard of Oz” by L. Frank Baum. More than a century of American entertainment is packed inside “Wicked.”

So, yes, “The Wizard of Oz” is basically history at this point. And that was much of the wit of Maguire’s book, which took Baum’s Oz and imagined that all of its apparent dichotomies — the vilified Wicked Witch of the West, the perfect Glinda the Good Witch, the powerful Wizard — were mere propaganda. If history is a set of falsehoods agreed upon, then Oz, too, is a lie.

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