The legacy of Michael Jackson is a complex tapestry of unmatched musical genius and deeply troubling controversy. Antoine Fuqua’s biopic, Michael, attempts to weave this story into a cinematic experience that serves as both a celebration of a global icon and a glimpse into the trauma that shaped him. While the film shines on stage, it often hesitates when the spotlights turn off, offering a “vanilla” version of a life that was anything but plain.
Michael sets the stage with a nostalgic trip back to 1966 in Gary, Indiana, tracing the origins of the Jackson 5 under the iron fist of their father, Joseph Jackson. From the opening moments—featuring a silhouette of the adult Michael (played by Jaafar Jackson) stepping onto a stage to the iconic beats of “Wanna Be Startin’ Somethin'”—the film promises a journey through the evolution of an entertainer who changed the world. However, the narrative largely stays within the “Neverland” of Jackson’s successes, ending its primary focus around 1988 and leaving the darker, more scandalous years of his later life for a potential sequel.
Acting
The heartbeat of the film is undoubtedly Jaafar Jackson. As Michael’s real-life nephew, Jaafar captures his uncle’s essence with an eerie precision, nailing the whispery voice, the delicate mannerisms, and the explosive energy of his dance moves. He portrays Michael as a vulnerable soul, an “innocent” who often feels more like a passenger in his own life than the driver. Colman Domingo delivers a powerhouse performance as Joseph Jackson. Under heavy prosthetics, he portrays the family patriarch as a “domestic monster”—a man whose abusive discipline was fueled by a desperate desire to escape poverty through his children’s talent. While Nia Long provides a steady presence as Michael’s mother, Katherine, her character feels underwritten. Meanwhile, Miles Teller appears in a somewhat brief role as lawyer John Branca, and Mike Myers provides a boisterous, albeit brief, turn as CBS Records head Walter Yetnikoff.
Direction and Screenplay
Director Antoine Fuqua, known for his grit, takes a surprisingly conventional approach here. Along with screenwriter John Logan, Fuqua focuses on Michael’s “journey to free himself from the past.” The film highlights the trauma of Michael’s childhood—specifically the physical abuse by his father—to explain his later eccentricities and his bond with animals and children. However, the direction feels constrained. Because the film was produced in association with the Michael Jackson estate, it avoids the more damning allegations of child sex abuse that emerged after 1993. This creates a “void at the center” of the story, making the film feel more like a high-budget fan tribute than a balanced biography.
Technical Aspect
Technically, the film is a triumph. The cinematography is sharp and “snazzy,” elevating it above the typical TV-movie aesthetic. The recreation of historical milestones—like the Motown 25 performance and the filming of the “Beat It” video—is handled with high-octane energy. The production design successfully transports the audience from the modest Jackson home in Indiana to the opulent, animal-filled sanctuary of Encino, showing Michael’s world as a “menagerie” that served as his only refuge.
Music and Score
The music is the film’s greatest strength. The soundtrack functions as a “greatest hits” parade that will undoubtedly delight fans. The sequences showing the creative process behind Off the Wall and Thriller are electric, illustrating how Michael used his “wounds” to fuel his vision. Whether it’s the “electrostatic moves” of “Billie Jean” or the soulful phrasing of “Human Nature,” the musical numbers are designed to make the audience “feel the music in their feet.”
Overall
Michael is an engrossing, middle-of-the-road biopic that excels when it focuses on the artistry of the King of Pop. While it sidesteps the most difficult parts of his history, it provides a compelling look at a man trying to outrun his upbringing. It is a film for the fans—lavish, rhythmic, and safe—leaving the “dark side” for another day.