Directed by Antoine Fuqua, Michael follows the life of the “Artist of the Millennium”, Michael Jackson, from his Jackson 5 beginnings to global superstardom due to his solo career and albums such as “Off the Wall” and “Thriller”. The expectations have been sky-high, with audiences eager to see if justice was done with Michael Jackson’s eventful life and key moments on the big screen and whether a new generation will discover his foot-tapping music. But does it truly deliver?
Starting off with the positives, this film is carried by its strong, emotional performances that pack more than a punch. Jaafar Jackson, the son of Jermaine Jackson and nephew of Michael Jackson, not only embodies the style and grace of his uncle, but also his mannerisms with impressive detail, adding a palpable sense of authenticity and accuracy to the role. It never feels like an imitation; rather, it feels like you’re watching Michael himself on screen. The zany energy, the smooth, almost butter-like dancing and the piercing vocals are done to perfection, enhanced by a robust sound system found in IMAX theatres. Colman Domingo portrays his role as Joseph Jackson with perfection, nailing the usual abusive father tropes while also adding a layer of uneasiness and immorality that creates an atmosphere of unpredictability and fear.
The musical sequences are a standout too. They bring scale and grandeur to the narrative. From recreated live performances to studio recordings and behind-the-scenes moments, the film thrives whenever it leans into the music and the glamour that went along. The choreography, cinematography, and sound design all come together to create visually slick and engaging set pieces that are easily the film’s strongest moments, inviting the audience to join in, clap or even sing along to Michael’s greatest hits. It feels like a live concert and makes one wonder just how advanced and hi-tech the music scene was back in the 1980s.
However, where ‘Michael’ begins to falter is in its storytelling and screenplay. For a figure as complex and influential as Michael Jackson, the film plays it surprisingly safe. Key moments in his life feel rushed or glossed over, and the narrative often holds spectacle at a higher standard than substance. As a result, the film sadly never fully sinks its teeth into the personal life and psyche of Michael Jackson.
This makes the biopic feel more like a collection of hype moments and performances than a fully grounded character study. While it succeeds in entertaining and showcasing Michael’s legacy, it stops short of exploring the layers that made him such a fascinating yet controversial figure.
Overall, Michael is a film that nails its technical aspects, but as a biopic for the King of Pop, it feels surface-level, leaving the audience wanting more. It captures the spectacle and the legacy, but rarely the complexity behind it and the weight of the crown. Hopefully, the second instalment will take more risks and dive deeper into the inner turmoil that truly defined Michael Jackson. Because MJ’s story continues…!
