The latest music biopic to shimmy down the pipeline is none other than Michael, a film that attempts to capture the lightning-in-a-bottle essence of the King of Pop himself. It’s been fascinating to watch the early conversation around this project, which has largely revolved around a rather cynical reception from a segment of critics. It seems they were hungry for a darker, more incisive character study—a “deconstruction” of the man—rather than a celebration of the artistry that defined an entire era. While that’s their prerogative, there is a fine line between critiquing a movie for what it actually is and punishing it for not being the movie you wanted it to be.
Now, that isn’t to say Michael is some untouchable masterpiece or that it doesn’t deserve a critical eye. It’s true that the film’s perspective is a bit starstruck, leaving little room for a deep, messy understanding of Michael Jackson the man. It introduces certain issues without always tracing them back to their root causes. But let’s be clear: Michael is far from the disaster some are painting it to be. It is an engaging, often electrifying tribute that centers on the one thing about Jackson that remains undeniable—his music took the world by storm and continues to be beloved today.
A Legend in the Making
Director Antoine Fuqua doesn’t stray too far from the standard biopic formula, but he breathes life into it by focusing on the timeless music and unforgettable performances that made Michael a legend. However, there is more to Michael than just a great soundtrack. Screenwriter John Logan hones in on the delicate, often painful layers of the Jackson family dynamic: a domineering father, a nurturing mother, and a talented son desperately trying to take the reins of his own life.
The journey begins in 1966 in Gary, Indiana, where Joseph Jackson (played with an uncomfortable, sharp intensity by Colman Domingo) brings his five sons together to form the Jackson 5. At the heart of it is 10-year-old Michael, played by an extraordinary Juliano Krue Valdi. He captures Michael as a sweet, eccentric soul who finds solace in Peter Pan and watching movies with his mother, Katherine (Nia Long).
We see the cold-hearted Joseph using his sons as a ticket out of the steel mill, pushing them through a punishing schedule of rehearsals until they catch the eye of Motown Records. Their rise is meteoric, and soon the family trades Gary for a mansion in Encino, California.
The King Takes His Throne
By 1978, Michael (now played by his real-life nephew, Jaafar Jackson) has grown weary of Joseph’s suffocating control. This is the era of Off the Wall, Michael’s chance to reintroduce himself as a solo artist alongside producer Quincy Jones (Kendrick Sampson). The album’s success sets up the father-son conflict that propels much of the narrative, as Joseph struggles to accept Michael’s independence.
Fuqua hits several key milestones, but the development of 1982’s Thriller is easily a highlight. We get to see the origins of “Beat It,” his partnership with attorney John Branca (Miles Teller), and his push to break the color barrier on MTV. More personally, the film touches on Michael’s deep-seated insecurities—his childlike private life and the pressure he felt to be “perfect” through cosmetic surgery.
The Final Word
I know many will point out what the movie leaves out, it certainly avoids the most complicated parts of his legacy, ending in 1984 before many major controversies erupted. But Fuqua teases that “his story continues” with a breathtaking recreation of the 1988 “Bad” performance at Wembley Stadium.
Michael is worth seeing for the performances alone. Jaafar Jackson’s debut is uncanny; his vocals, mannerisms, and dancing are the result of years of study, but it’s the vulnerability he adds that makes it more than just an impression.
This is a film made by fans, for fans. It’s slick, polished, and nothing short of dazzling. If you go in with the right expectations, you’ll find yourself tapping your foot and fighting the urge to sing along for the entire two-hour journey. I know I was.
7.5/10
