Michael: An Electric Examination of a Pop Patriarch

Wanna Be Starting Something

The lights are down, the tracks are ready, and a shadowy figure has graced the stage. That can only mean one thing: a smooth criminal is ready to present his story to moviegoers nationwide! Michael is based on the life of the King of Pop himself, Michael Jackson, making it the latest film based on the life and career of a pioneering musician. The biopic subgenre has been on the rise lately, with many movies within it being praised by audiences and making substantial amounts of money. Some examples include Bohemian Rhapsody, Rocketman, Elvis, and Straight Outta Compton. 

It was only a matter of time before Jackson had his story told on the big screen, especially with his legendary status in the world of music. Now, after seven years of development, the film has finally been unleashed in one of this year’s most hyped-up cinematic experiences. But despite tracking to make around $70 million in its first weekend alone—a new record for the subgenre—the film has received negative reviews from critics, adding a layer of skepticism to its overall quality. 

Even with the poor press, I was still ecstatic to check out this movie. As I stated in my review of Springsteen: Deliver Me from Nowhere, I love musician-themed biopics because of how they provide a grand exploration of these icons, in both their music and personal lives. Plus, as someone who’s loved Jackson’s music for as long as I can remember, I had been wanting to see a biopic of him for quite a while. As such, I was as enthusiastic as ever when I entered that auditorium, hoping that the film could at least meet my expectations.

I attended a screening of the film on Thursday, April 23, joined by Cyclone Chronicle social media manager Nick Storms, and managing editors Carlee Nigro, Sami Swayze, and Elizabeth May. As the curtains closed, I was left with one question: did this movie make me want to scream with excitement, or did it negatively affect the way it made me feel?

Don’t Stop ‘Til You Get Enough

Set between 1967 and 1988, Michael chronicles the early career of Jackson. This includes his youth in a crowded and troubled home, his success performing with his brothers—the Jackson 5—and his eventual rise to super-stardom. As Jackson deals with his own personal struggles, including a manipulative relationship with his father, he finds solace in music and desires to change the world with it. This leads him down a path of fame of fortune which cements his legacy as an entertainment legend.

Directed by Antoine Fuqua—who also helmed Training Day, Olympus Has Fallen, and the Equalizer trilogy—the film features a talented ensemble including Jaafar Jackson, Colman Domingo, Nia Long, Miles Teller, and Laura Harrier among others.

Despite all of the negative press this movie received, I found myself really enjoying it. Though not quite a perfect movie, I would be lying if I said I didn't have a great time watching it. This is largely due to how the movie puts its entertainment value at the forefront, ensuring audiences have fun the entire way through. The film's spectacle is absolutely undeniable, especially with the number of songs played and locations visited, keeping viewers engaged through a high sense of energy and variety in what it showcases. 

The two words that come to mind to best describe this movie are ambitious and electrifying. It has a wide sense of scope in what it explores throughout the runtime—especially with how detailed and complex Jackson’s story is—but it utilizes incredible technical aspects to keep its energy flowing. Whether it be wide camera shots which emphasize Jackson’s massive fanbase or sound design which blasts Jackson’s greatest hits through the theater’s speakers, the film successfully puts moviegoers into a trance from the moment it begins and does not let go until the credits roll. 

All of these factors result in a highly engaging movie, but that does not mean it is completely perfect. In fact, despite the respectable ambition, the movie’s biggest issue ended up being its story. Not because it lacks creativity or feels one-note, but rather due to its over-reliance on tropes commonly seen in other musician biopics. These include a subplot involving a troubled family, tense meetings with record executives, and montages showing how certain songs were made. Though the film’s energetic personality helps it to stay engaging and enjoyable, I still felt there was potential to delve into deeper topics or flesh out some of its ideas more. 

Perhaps, if the movie had an additional 15–20 minutes to its runtime, it could’ve expanded on more of its character bonds—especially between Jackson and his brothers—or explored more of the motivation behind his father’s domineering behavior. But as it stands, these concepts feel somewhat wasted, as the film doesn’t devote much time to developing either of them.  

“I wish that we got to see why [Jackson's] father acted the way he did,” said Nigro.

That said, what I can’t deny is that the movie has a clear purpose: acting as a love letter to Jackson and his career, which the film succeeds at through its examination of his character. It depicts Jackson from his childhood to the pinnacle of his success in adulthood over the course of just over 20 years, highlighting how he got started in music, his success with the Jackson 5, and how he reached superstardom through his solo career. 

The movie shows audiences the early highs and lows of his career, with a dramatic depiction of his life behind the stage and relationship with his father, Joseph. But it stays true to its core goal of illustrating Jackson’s overall impact, resulting in an effective biopic which can also double as a celebration of his life. 

“Seeing this movie reminded me that everyone doesn't wake up famous or get fame handed to them in perfect conditions,” said Storms. “You gotta work hard every day to make a unique impact on the world to earn that reputation.”

The Man in the Mirror

Part of what makes this movie so enthralling is its cast, who all do an effective job at bringing the Jackson family and their companions to life. 

“The cast was perfect,” said May. “The [performances] by the actors was what made the movie for me.” 

There is a lot of talent in this movie, with each performer effectively providing a creative essence to their characters, adding to the film's sense of variety and engagement.

For instance, I loved the differing personalities of Jackson's parents: Domingo and Long as father Joseph and mother Katherine, respectively. Both leave a different impact on Jackson's life, leading to a fascinating familial conflict. While Long portrays Katherine with a soft tenderness and sense of care for her son, Domingo plays Joseph in a much more domineering fashion. 

Joseph serves as the movie's antagonist through his overbearing presence, shocking disciplinary tactics, and manipulative interactions, clashing with his family to ensure he gets what he wants. Domingo provides a threatening take on Joseph which helps him stand out as one of the film's most unforgettable, albeit hateable, characters.

But even with all this talent, one performance particularly stands out as one of the best I've seen on the big screen in years, that being Jaafar Jackson as the King of Pop. As Jackson's real life nephew, Jaafar had big shoes to fill with this performance, especially since this is his film debut. However, his resemblance to his uncle is absolutely uncanny, as he speaks, moves, dances, sings, and even laughs practically identically to him. 

He embodies Jackson flawlessly, balancing out his soft-spoken dramatic scenes with an exuberant stage presence, to the point where I did not see Jaafar when watching this movie. Rather, I saw Jackson himself, particularly during the musical scenes. Jaafar embraces his uncle’s identity masterfully in this film, making it worth watching just for his performance alone. 

“Jaafar Jackson did an amazing job portraying Michael,” said Nigro. “He sounded very similar to him.”

“It is so powerful, how Michael's nephew played the role of him,” said Swayze. “It was hard to tell it wasn't Michael. He even sounded just like him when he spoke."

I also want to give a quick shoutout to Juliano Krue Valdi, who plays Jackson in his youth. Much like Jaafar, he moves and sings exactly like Jackson, especially in scenes where he records and performs with the Jackson 5. His high energy makes him another standout performer in the movie, and one of the best parts of the film’s first few scenes.

Furthermore, all of the actors work well with each other in providing strong character dynamics, with Jackson and Joseph having the strongest ones of the lot. While Jackson desires to change the world and promote unity through his music, his father is much more controlling, being consumed by his ego as he desperately seeks to exploit his son’s success. Their clash serves as the focal point of the film’s conflict, with the two clashing throughout the runtime as Jackson struggles to break away from Joseph. 

Though I find the overall structure of the subplot to be basic, I have to commend Jaafar and Domingo for keeping their characters enthralling, especially with their realistic dialogue and feuds.

He’s Bad, You Know It

My favorite aspect of this movie is easily the music sequences, of which there are many throughout the runtime. These can range from massive stage scenes which emphasize the film’s scope to quieter solo scenes where Jackson sings in a recording booth. In any context, they are brought to life through a combination of impactful sound design and Jaafar’s talented vocals which parallel his uncle’s. Some of my favorites include the filming of the music video for “Thriller” and a climactic concert where Jackson performs “Bad.”

Granted, these sequences can feel a bit fast in the grand scheme of the movie, especially when they’re sandwiched between slower, dialogue-driven scenes, which can throw off the pacing. The film covers a long period of Jackson’s life in just two hours, which can lead to some sequences feeling rushed, especially in the first act focusing on his childhood. Again, I feel like an additional 15–20 minutes would have helped the film’s runtime to feel more balanced, so its ideas and storytelling would have more time to properly savor and develop. 

But even with these pacing drawbacks, the film redeems itself through its energetic nature, especially when Jackson takes the stage or grabs a microphone. This can be additionally highlighted in the movie’s cinematography, which greatly showcases different time periods while using unique editing techniques—like quick cuts and zoom-ins on Jackson’s dances—to keep it engaging. Whether it be the dimly-lit home of the Jackson 5, the crowded streets of New York, or a bright stage in a stadium full of fans, the film sells the illusion and transports audiences directly into a whole new timeframe. 

Not to mention, the choreography is astounding, particularly during the second half of the film. This section is devoted to the crafting and performing of some of Jackson's most iconic tunes, including “Beat It,” “Billie Jean,” and “Human Nature.” Whether he be filming a music video for them or performing them in front of hundreds of fans, the movie’s accuracy in how they are performed is truly commendable, especially in how the performers move and dance identically to the original source material. 

It even adds a layer of realism to the film, as the combination of Jaafar’s vocals and presence with the pinpoint accurate choreography make the film one of the most ambitiously creative biopics I’ve seen in a while. 

A Marvellous Moonwalk

Overall, though the story is pretty barebones and the pacing can feel uneven, Michael is a strong cinematic outing thanks to its enthralling music sequences, effective technical aspects, complex character dynamics, and terrific performances. This movie puts its entertainment value at the forefront, resulting in a satisfying crowd-pleaser and one of the most underrated musician biopics I’ve seen.

“Michael had a breathtaking atmosphere,” said May. “It was a two-hour long movie that didn't feel like two hours. It felt like 30 minutes because of how much fun it was.” 

“Michael was nostalgic and entertaining,” said Storms. “It’s always fascinating seeing rising artists' origin stories before their careers elevate.”

“I really enjoyed Michael, I cried multiple times,” said Swayze. “I absolutely loved getting to watch a part of [Jackson's] life, and I am so excited for part two to come out.”

If you’re a fan of Jackson’s music, biopics about popular artists, or just want a good time at the movies, I’d highly recommend checking this film out. Michael is currently dancing through theaters nationwide, including less than 10 minutes from campus at Cinépolis Luxury Cinemas Mansfield. If you want to see a flashy-but-engaging look at the King of Pop’s career, this is the perfect film for you. 

Despite occasionally stuttering on stage, this film proved to be a great watch. So here’s my last request: beat it, and head to the theater to check it out!

My Rating