‘Michael’ shines onstage but sidesteps depth
No doubt almost everyone has heard at least one Michael Jackson song. That’s the scale of his fame —then and now. “Michael” leans into that legacy, delivering an impressive debut from the King of Pop’s nephew, Jaafar Jackson, in a film that prioritizes spectacle over introspection. Directed by Antoine Fuqua, this musical drama chronicles the late music icon’s rise with polish and reverence, though not always with depth.
It’s almost inevitable that a biopic about Michael would revisit moments already etched into cultural memory. “Michael” embraces that sense of recognition, offering a lavish but largely conventional retelling of the icon’s ascent.
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The film follows Michael’s journey from his early days as the standout talent of the Jackson 5 to his transformation into a global superstar driven by relentless ambition. Juliano Valdi, who plays the ten-year-old Michael in the film’s opening stretch, is a natural performer. His singing and dancing carry an easy charm that makes him instantly engaging, and his presence becomes one of the film’s undeniable highlights.
At its center is Jaafar Jackson, whose performance is both convincing and compelling. He goes beyond imitation, capturing not just the voice and choreography, but something of his uncle’s gentleness and vulnerability. His recreations of iconic musical numbers, especially “Billie Jean” and the debut of the moonwalk, pulse with the same electrifying energy that once captivated audiences worldwide.
Still, while Jaafar is magnetic in performance, his portrayal doesn’t fully unlock the deeper complexities of Michael Jackson as a person, and the film itself only scratches the surface. One of its more compelling threads is Michael’s fraught relationship with his father and the film’s main antagonist, Joe Jackson, portrayed by Colman Domingo. Their dynamic unfolds in a push-and-pull rhythm; moments of control and cruelty are occasionally interrupted by fleeting reversals in power.
The film also points to the contradictions in Michael’s sense of self. He insists on being seen as an adult artist, eager to break away, make his own decisions, and define his identity beyond the family machinery, yet he is repeatedly framed in toy stores and rooms filled with stuffed animals, producing a subtle and ironic disconnect between his stated independence and the imagery surrounding him.
Beyond Domingo’s commanding turn, however, the supporting cast, including Nia Long as Katherine Jackson, feels underwritten. The Jackson siblings are reduced to background figures, with little sense of their individual relationships with Michael, leaving a noticeable emotional gap.
For all its polish, “Michael” plays things frustratingly safe. The more controversial and complicated aspects of Jackson’s life are largely sidestepped, resulting in a version of his story that feels carefully managed – perhaps unsurprising given the involvement of his family and close associates. The film doesn’t even gesture toward these tensions, it moonwalks past them entirely. What remains is a kind of curated fantasy, one that celebrates the extraordinary highs while turning away from the more difficult topics.
In that sense, the film echoes the familiar, crowd-pleasing formula of many mainstream biopics; it’s undeniably entertaining but stops short of offering meaningful insight.
“Michael” still manages to engage audiences in a raw, instinctive way, buoyed by strong performances and the enduring power of Jackson’s music. By the time the credits roll, you may be more inclined to simply get up and dance than to reflect.
“Michael” is now showing in theaters. /edv
