Michael

Antoine Fuqua's 'Michael' attempts to chronicle the life of the iconic Michael Jackson, from his early days with the Jackson 5 to his solo superstardom in the late 1980s. The film's most undeniable strength lies in Jaafar Jackson's remarkable performance as his uncle, capturing the King of Pop's distinctive mannerisms, dance moves, and vocal essence with uncanny accuracy. Juliano Krue Valdi also shines as the young Michael, bringing a heartfelt sincerity to the early years.

The musical sequences are meticulously recreated, offering a vibrant spectacle that will undoubtedly resonate with fans, transforming the cinema into a concert-like experience. The film's production design and the sheer scale of these performances are often praised, showcasing a high level of technical craft in bringing Jackson's iconic visuals to life. However, the narrative struggles to move beyond a superficial, chronological recounting of events, frequently criticised for its sanitised approach to Jackson's life.

The screenplay, penned by John Logan, often feels more like a 'filmed playlist' than a cohesive story, shying away from the complexities, anxieties, and controversies that defined much of Jackson's existence. This results in a lack of genuine character depth, with Michael often presented as an unchallenging, almost saintly figure, and supporting characters, such as Colman Domingo's Joe Jackson, sometimes veering into caricature despite Domingo's watchable performance. The dialogue, while functional, rarely delves into the emotional interiority needed to truly understand the man behind the music.

While the film's music is, predictably, its greatest asset, its pervasive presence sometimes acts as a crutch, masking a story that often feels thin and unwilling to interrogate its subject with the necessary nuance. Ultimately, 'Michael' delivers on the spectacle and the music, but falls short in providing a truly insightful or challenging biographical portrait.