FILM REVIEW – Antoine Fuqua’s biographical film Michael attempts to polish the legacy of Michael Jackson, presenting a glossy portrait that highlights his musical brilliance while largely sidestepping the darker chapters of his life. Backed by Jackson’s estate and produced with its full approval, the film delivers a carefully controlled narrative that focuses almost exclusively on the superstar’s rise and triumphs.
Notably absent from the film is any meaningful exploration of the long-standing allegations of child sexual abuse that shadowed Jackson’s later years. The story concludes before those controversies fully emerged, omitting even subtle references to them. While Jackson consistently denied wrongdoing and was acquitted during his 2005 criminal trial, the omission leaves the film feeling incomplete—more like a polished fantasy than a comprehensive biography.
There is, however, an undeniable appeal in revisiting Jackson’s peak years. His cultural impact remains immense, and the film leans heavily into that nostalgia. From iconic tracks like “Billie Jean” to electrifying stage performances, the movie invites audiences to relive the magic. Jaafar Jackson, portraying his famous uncle, delivers a convincing performance that captures both the voice and physical presence of the pop legend, offering a striking recreation of his artistry.
Originally, the script written by John Logan included scenes addressing the allegations, but these were reportedly removed due to legal constraints tied to past settlements. What remains is largely a family-centered narrative, particularly focusing on Jackson’s strained relationship with his father, Joe Jackson. Played by Colman Domingo, Joe is depicted as a strict and often harsh figure who pushed his children relentlessly during their early years as the Jackson 5.
The film traces Jackson’s journey from his childhood in Gary, Indiana, through the success of the Jackson 5 and into his groundbreaking solo career with albums like Off the Wall and Thriller. At its core, the story emphasizes his desire for independence and creative control, echoing themes seen in other recent music biopics like Elvis, which explored Elvis Presley’s relationship with his manager Colonel Tom Parker.
Despite some effective directing choices, such as intimate recording studio scenes that spotlight Jackson’s raw vocal talent, Michael largely follows a familiar “greatest hits” formula. Produced by Graham King, the film prioritizes spectacle over complexity, celebrating the emergence of a global icon while minimizing the contradictions that defined his later life.
Elements of Jackson’s eccentric personality, including his fascination with childlike environments and his physical transformations, are portrayed as quirks rather than explored in depth. Supporting characters, including his mother Katherine (played by Nia Long) and attorney John Branca (Miles Teller), are depicted in largely positive terms, reinforcing the film’s sympathetic tone.
The release of Michael marks another chapter in the ongoing revival of Jackson’s image, following projects like Broadway’s MJ the Musical and Cirque du Soleil productions. This resurgence continues despite renewed scrutiny brought on by the 2019 documentary Leaving Neverland, which presented detailed allegations against the singer. The film does not attempt to counter those claims directly; instead, it focuses on spectacle and admiration.
Ultimately, Michael presents a version of the artist that is almost entirely mythic. It celebrates his groundbreaking achievements his influence on MTV, his chart-topping music, and his global fanbase—while leaving audiences to reconcile the absence of the more troubling aspects of his story.
The film concludes on a triumphant note that may feel disconnected from the full arc of Jackson’s life. Yet, when it immerses itself in his music and performances, it captures something undeniably powerful: the energy and emotion that made Michael Jackson a once-in-a-generation entertainer.
Michael, distributed by Lionsgate, is rated PG-13. |Adapted from an original review by Jake Coyle, Associated Press
