REVIEW: “Michael” (2026)

(Source: Rotten Tomatoes) 

There continues to be a staple in the entertainment industry, where a piece of work (and/or the people involved in making it) tend to generate divisive responses from critics and audiences, respectively. While each side has its pros and cons, including either legitimate or passive arguments, it’s important to remember that individual opinions are subjective. As somebody who has read, studied, and analyzed both sides for many years (and I still do), I believe this is one of the reasons that criticism—constructive criticism, rather—is important. That certainly is the case with the recent biopic on the late music artist and entertainer, Michael Jackson. 

A co-production between Lionsgate, Universal, and Optimum (the latter was behind many of Jackson’s famous short films, including the compilation feature Moonwalker), and with the approval and support of Jackson’s estate and family, Michael highlights many signature moments from his childhood, his work with his brothers as the Jackson 5, his branching out into a solo career (with music producer Quincy Jones) with his albums “Off the Wall” and “Thriller,” and his struggles between family life and artistic freedom/independence. Spot-on recreations of such events and performances include Jackson's music videos for “Beat It” and “Thriller,” to his debut of the “Moonwalk” at a 1983 Motown event performance of “Billie Jean,” and his tours with his brothers. 

It’s no secret that Michael himself was inspired by several fantasy stories like Peter Pan (even viewing his father as Captain Hook?) and The Wizard of Oz (a subtle nod to his role in the late-70s cult classic The Wiz?), as well as sci-fi/horror movies from the 1950s. There are few moments in the film that take time to slow down and humanize these characters, including the commanding, demanding, and sometimes abusive patriarch Joe Jackson (the always-dynamic Colmon Domingo), as well as Michael's longtime bodyguard Bill Bray (a breakout LeiLyn Durrel Jones). At the center is MJ's real-life nephew, Jafaar Jackson, who brilliantly channels his late uncle, displaying some impressive dance moves, vocal chops (despite some audio/archival recordings used), and specific nuances that bring the "King of Pop" back to life. But Michael is mostly a series of montages centered around performances, Jackson’s creative process (including famous dancers who inspired him), his growing fame and fandom, and his feelings of being "exploited." Not to mention his collection of iconic outfits. 

Elements that are a little uncanny include CGI animals (true fans will recognize pet chimpanzee Bubbles). Jackson was also known for going on toy shopping sprees, and for visiting children in hospitals, especially after an accident that left him with scalpel burns and nerve damage (hence, his appearances in subsequent years). The film portrays this as a life-altering and life-affirming moment, inspiring the peace and love he wanted to show in the world. This, despite public scrutiny and questions over his physical appearance in later years (which is another story). On that same note, a few moments emphasize the initial plastic surgery Michael had (he reportedly didn’t like his original nose, thinking it wasn't perfect) as one way to “reinvent himself," as well as brief references to the skin condition he had called vitiligo (which causes a loss of pigmentation). While several artists (including Usher, Justin Timberlake, and Bruno Mars) have otherwise been inspired and influenced by him, there really has never been anybody like Michael Jackson, before or since. For one thing, he broke a lot of barriers as a black artist, with short films (which he preferred calling them, instead of "music videos"), genre crossovers, and getting his music played on MTV. He truly was once of a kind, for better or worse. 

In the end, the resulting film (from producer Graham King, writer John Logan, and director Antoine Fuqua) carries elements that reflect both critical and audience perspectives. Some believe Michael plays it safe by not addressing the more controversial aspects of the life and career of an undeniably talented but complicated figure. Again, this film focuses on the man’s childhood and early career, from 1966-1988. Think of this 2026 biopic as a nostalgic playlist of the man’s greatest hits, which, to be fair, makes this movie a very cinematic event. (You’ll want to stay through the credits on this one.) A second film has been confirmed, following a record-breaking opening weekend. I can only assume this sequel with tackle the more challenging aspects of Jackson’s life and career, how they’ll balance that with his music from that era, and if critics and audiences will be more divided or unified. Subjective takes are part of, ahem, human nature, after all.