Michael is the long-anticipated biographical drama chronicling the rise of the King of Pop, directed by Antoine Fuqua (Training Day) and produced by Graham King (Bohemian Rhapsody). Blending elements of a traditional biopic with large-scale concert recreation, the film aims to capture both the mythology and musical legacy of Michael Jackson. It’s an ambitious project that will hopefully delight audiences worldwide.
Going in, my expectations were a mix of curiosity and scepticism. I find biopics about cultural icons often struggle to balance honesty with reverence, and given Michael Jackson’s complex legacy, there was definitely a question of how far the film would go in addressing the full scope of his life. At the same time, the prospect of seeing his performances recreated on a cinematic scale was undeniably appealing to me.
The film charts Michael Jackson’s (Jaafar Jackson) journey from his early years performing with the Jackson 5 in the 1960s through to his meteoric solo success in the 1980s. It focuses on the pressures of fame, his relationship with his father – Joe Jackson (Colman Domingo), and the creation of some of the most iconic music and performances in pop history. Rather than spanning his entire life, the film largely confines itself to his formative and peak creative years, culminating before the later, more controversial chapters.
The standout element here is unquestionably Jaafar Jackson. His transformation into Michael is remarkable, not just visually through hair, makeup, and prosthetics, but in the subtleties of voice and mannerisms. He fully inhabits the role in a way that elevates the entire film. It’s the kind of performance that anchors even the film’s weaker narrative choices.
Antoine Fuqua’s direction is another strong point. He structures the film in a way that often feels like a hybrid between a concert experience and a traditional biopic. The performance sequences are where the film truly comes alive, these moments are staged with such precision and energy that they genuinely feel like watching Michael Jackson live. The sound design, choreography, and cinematography combine to create sequences that are immersive, especially in a movie theatre.
Coleman Domingo also delivers a strong performance as Michael’s father, Joe Jackson. While his portrayal occasionally veers into slightly cartoonish territory, it remains compelling and adds tension to the family dynamic that shaped Michael’s career. It’s a performance that walks a fine line but largely succeeds.
Unsurprisingly, the music does much of the heavy lifting. Michael Jackson’s catalogue is so iconic that the film wisely leans into that strength. Still, this distraction can sometimes feel like a substitute for deeper storytelling.
However, the film isn’t without its shortcomings. It leans heavily into a more worship tone, often avoiding deeper exploration of the more complex or controversial aspects of Michael’s life. For viewers expecting a more balanced or investigative portrayal, this approach may feel underwhelming. Similarly, the film’s decision to end in the 1980s gives the film an oddly abrupt conclusion, as though it stops just short of the chapters that might have added greater emotional and thematic weight. I imagine this was due to the Jackson family not wanting Michael’s memory to be dishonoured. I understand this reasoning, though I believe it did the film, and its audience a disservice.
Michael is an engaging and visually impressive tribute that excels in its performances and musical sequences. While it may disappoint those looking for a more comprehensive or unflinching portrayal, it succeeds as a celebratory cinematic experience. It’s less a definitive biography and more a polished homage, one that captures the magic, if not the full complexity, of its subject.
Score 7/10
