“Michael,” a biopic of the legendary Michael Jackson, hits the big screen, but it feels more like an extended commercial than a feature film. Produced with the full blessing of the Michael Jackson estate, this project has the unmistakable scent of family involvement. The absence of Janet Jackson among the executive producers adds a layer of irony, hinting at deeper familial tensions. This reality is palpable throughout the film.
The story kicks off in the Jackson family living room in Gary, Indiana, during 1966, where young Michael—and his brothers—face the heavy hand of their father, Joe Jackson. Colman Domingo delivers a commanding performance, embodying Joe’s strictness as he drills into his sons: “In this life, you’re either a winner or a loser.” The film promises to cover these formative years but quickly shifts into a glossed-over chronology of Michael’s career.
While the film dutifully hits the high points of Jackson’s life, from his early days with the Jackson 5 to his iconic solo hits, it also feels like a checklist. Iconic songs like “ABC,” “Billie Jean,” and “Thriller” are featured prominently, but their inclusion often feels more like an effort to cash in on nostalgia rather than serve the narrative. Each song seals the film’s tone—a karaoke tribute rather than a deep exploration of a complex individual.
Jaafar Jackson portrays his uncle in his first major acting role. He impressively mimics the voice and dance moves of the King of Pop. Yet, his portrayal suffers from a lack of emotional depth, making it feel like an impressive impersonation without the resonance of a true performance. Viewers might appreciate the resemblance but leave the theater without any profound connection to Michael’s struggles or triumphs.
The film’s handling of controversy is equally troubling. By focusing on an almost glorified representation of Michael’s life, it sidesteps darker chapters, including the notorious 1993 allegations that shadowed his legacy. This sanitized portrayal risks failing to provide a nuanced perspective on a man who led a life rich with contradictions. Critics will likely find the film’s reluctance to engage with these realities frustrating, resulting in a glossed-over narrative lacking grit and authenticity.
It’s worth noting the apparent irony in the roster of talent involved. With the experienced Antoine Fuqua behind the director’s chair and a star-studded cast, one might expect a cinematic experience that dares to explore its subject. Instead, the film spends too much time rehashing familiar details and hits, steering viewers back to a catalog of hits rather than forward into the potential richness of Jackson’s story.
Comparisons to other music biopics are inevitable. “Rocketman” stands out for its artistry and emotional depth, showcasing an artist’s journey while allowing for genuine storytelling. In contrast, “Michael” misses this mark, breeding disappointment among those seeking a more profound understanding of its subject. It often feels as though the film was exempt from the scrutiny typically applied to artistic endeavors, appearing as a polished advertisement rather than a heartfelt tribute.
While “Michael” caters to fans eager for a glimpse into the King of Pop’s world, it should be clear that this is far from an artistic triumph. The film invites audiences to relive Michael’s music but does little to illuminate the man behind the legend. It may be entertaining for a casual viewing but fails to resonate on a deeper level, leaving spectators yearning for an honest and unflinching biography of one of music’s greatest icons.
In conclusion, “Michael” serves its purpose as a nostalgic reminder of the King of Pop’s everlasting hits, yet it risks leaving many viewers unsatisfied. The lack of emotional depth and avoidance of critical personal challenges ultimately diminishes what could have been an eye-opening exploration of a complicated figure in music history. In the end, audiences are left with an infomercial for Jackson’s music rather than a compelling biographical portrait.
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