Film Review – Michael (2026)

      **Michael, 2026**

      Directed by Antoine Fuqua.

      Featuring Jaafar Jackson, Colman Domingo, Nia Long, Kendrick Sampson, Miles Teller, Juliano Valdi, Joseph David-Jones, Jamal Henderson, Rhyan Hill, Trey Horton, Jessica Sula, KeiLyn Durrel Jones, Kat Graham, Larenz Tate, Laura Harrier, Nathaniel Logan McIntyre, Judah Edwards, Jayden Harville, Jaylen Hunter, Mike Myers, Liv Symone, Kevin Shinick, Effie Spence, and Daniel Korenfeld.

      **SYNOPSIS:**

      This film tells the story of the legendary musician Michael Jackson, recognized as the King of Pop. Throughout his life, Michael Jackson never experienced a typical upbringing. His eccentricities defined him as one of the most significant pop icons in history, whether it was transforming his home into a zoo filled with unusual pets (including Bubbles the chimpanzee) or returning home after a sold-out show to watch Fred Astaire musicals and other films—some of which inspired his music videos—alongside his loving mother Katherine (portrayed with empathy and grace by Nia Long). Furthermore, he showed an attentive care for the suffering of children during visits to various hospital wards. However, in Antoine Fuqua's lackluster and polished depiction, this aspect seems to merely set the stage for potentially the most contentious times in his life.

      Michael (played by his nephew Jaafar Jackson in a debut that could lead to further acting roles) grew up with an abusive father, Joseph Jackson (with Colman Domingo excelling as a self-centered manipulator who believes his actions are for the greater good). The fear instilled in him followed him into adulthood. The moment the young boy (depicted in his youth by Juliano Valdi) is disciplined with a belt by his father, it becomes apparent that his childhood was filled with pain, shaping his later obsession with Neverland, imaginary friends, and a bond with other suffering children. This intense drama is saved for a potential sequel (with the film concluding by suggesting Michael's narrative will continue), but the concern lies in the fact that these elements should integrate into this story, engaging with the earlier phases of his life.

      Michael is a project endorsed by his family. There's no uncertainty regarding the perspective the story will take when it revisits these events in the coming years. The issue isn't merely that it will be sanitized; rather, it's that those moments aren't even included here. The film presents a fragmented narrative, frequently shifting from one studio recording or live performance to another as Michael strives to distinguish himself from the Jackson 5 (comprised of his brothers who choose more conventional lives and drift away) and his controlling father, who is too myopic to understand how allowing his son to forge his own path would benefit everyone involved.

      While it’s commendable that the film doesn't attempt to condense all of Michael's life into a two-hour runtime, this sacrifice often comes off as merely alluding to recognizable aspects of Michael Jackson rather than delving into them or exploring their impact on his identity. It is willing to mention Neverland and his traumatic experiences or depict a grown man frequently visiting toy stores, suggesting he struggles to embrace adulthood while grappling with the childhood he never had. However, the screenplay (by John Logan) shows little enthusiasm for developing these themes. A minor exception lies in the understated relationship between Michael and his security personnel (played by KeiLyn Durrell Jones), who seems to comprehend some of the pain beneath the surface, even if unspoken.

      It remains uncertain whether the film primarily aims to evoke nostalgia akin to the repetitive hit songs featured or if the Jackson estate overly restricts the filmmakers' ability to elaborate on the narrative. While the latter is likely true, the story feels particularly void even by the standards of musical biopics. Consequently, this culminates in a lifeless series of clichéd moments, not counting the deviations from the actual events.

      Even the musical performances lack vitality, failing to convey the excitement and energy typically experienced by enthusiastic crowds. This deficit results more from uninspiring cinematography and awkward editing than from Jaafar Jackson's portrayal, which struggles to capture the rhythm of the music and presentation. Frequently, the camera angles seem set to portray Michael as if he were delivering a TED talk. Unsurprisingly, this does a disservice to Jackson, who has evidently worked hard to master many iconic dance moves, from signature spins to moonwalking.

      The dialogue fares no better, often reduced to characters delivering motivational speeches to Michael every 20 minutes, reminding him of his talent and uniqueness, as if the audience needed such reassurances. The resolution of the tension between Michael and his father feels more appropriate for the conclusion of the first act rather than for an entire film.

      As an incomplete film, the essential elements of Michael's life that warrant exploration are seemingly reserved for future installments. I'm already left feeling dishe