'Michael' Review
- John Odette
- Apr 24
- 3 min read
Release Date: 04/24/26 [Cinemas]
Genre: Biography. Drama. Music.
MPAA: Rated PG13.
Distributor: Lionsgate.
The Verdict: A Maybe
Michael is the type of film that markets itself as the latest in the trendy wave of biopics but sidesteps deep introspection for crowd-pleasing sequences. This is not a study, but a celebration.
The fanfare for Michael Jackson, arguably the biggest pop icon to walk the planet, is the heart of Michael. While this approach will please the core fanbase of the King of Pop, it will further alienate his critics and confuse those caught in the middle.
Dialing in on his legacy and upbringing, Michael speed-runs through pivotal moments in his life in quick, wave-like bursts. Beginning with his Gary, Indiana roots with the formation of the Jackson 5 in 1968 and ending with Michael Jackson at the height of his powers during his Bad era in 1988, the story is touch-and-go in its aim, drifting between what it wants to focus on.
Critical moments do receive attention, including his meteoric rise as a solo artist, which puts him in conflict with his domineering father, Joe Jackson (Colman Domingo). A struggle dotted with other moments that touch on his vitiligo, his nose job, and his Pepsi-burning accident.
Added highlights show Michael pleading with a record executive to break down barriers so he, a black artist, can have his groundbreaking music videos featured on MTV. Miles Teller swoops in as his real-life attorney, John Branca, to help Michael navigate firing his father as manager and breaking the mold of what pop artists can deliver.
The true core of Michael is about the music. Jaafar Jackson, real-life nephew of the pop icon, dons the glove and dance shoes and confidently embodies the title role. From his dancing to his voice to his presence, Jaafar, in his acting debut, begins shyly and grows in confidence as the film continues.
Colman Domingo as Joe Jackson is gruff, filling the room with his personality, even if he is a bit one-note. I wish there were more of Nia Long as Kate Jackson, the mild-mannered matriarch. We see her as nurturing and encouraging, but she does not receive as much development as Joe.
Juliano Valdi plays young Michael smartly and innocently, foreshadowing visions of hope and kindness, whether performing on stage with his family or reading fantasy books about Peter Pan and Neverland. KeiLyn Durrel Jones is excellent as Bill Bray, Michael’s security, friend, and only true confidante.
This film chooses to please devotees rather than tell a strong story, and it fails to challenge Michael Jackson’s divisive image. Ostensibly, that is what a possible second film will try to do, given that we are told at the end of this film that his story is not over yet.
Yes, this film moonwalks past the troubling aspects of his life because its timeline stops before those events begin. Also, there are legal roadblocks that prevent some of the more salient details of his fall from grace from being revealed. While Michael features objective moments from a life that have been well documented in other television and film projects, it does not dare to explore his genius or psyche. The closest sequence of this covers his creation of the landmark Thriller album, in a sad compression of events. This chunk of the film would have been enough to cover his process and capabilities, as there is enough material to flesh out. That would have been an incredible examination, speaking strongly to why Michael Jackson transcended convention.
Director Antoine Fuqua and writer John Logan, in collaboration with the Jackson estate, have created a competent, well-shot, mostly well-acted film that was made for worship, not analysis. Michael Jackson, a complicated, complex, and eventually very controversial figure, was extremely talented and gifted. His mark on pop music and the world is undeniable, but Michael, the film, is not interested in showing it to us.
Many parts of Michael are safely assembled within contemporary biopic standards, and that bored me. There is nothing new to learn here. Michael is all results and no process, celebrating the icon and ignoring the person underneath. His legacy is mired in both fame and shame. In this respect, Michael is review-proof. Fans of his music are going to love this film; those who hold the artist in contempt are going to resent it. If you’re left in the middle, it’s understandable.
