REVIEW: “Moonwalker” (1988)

(Source: IMDb) 

Over the years, people have often compared and contrasted late music stars Michael Jackson and Prince. Both were genre-bending artists. Both were raised as Jehovah’s Witnesses. And both have made a few feature films respectively, with mixed results at best. Prince is best known for his screen work in Purple Rain, while his only two directorial efforts (the period-noir drama Under the Cherry Moon and music video-style Graffiti Bridge) received middling to negative reception. Jackson, on the other hand, made his film debut in the late-70s cult classic The Wiz. Yet, he’s primarily known for his numerous short films throughout the ’80s and ’90s.

Moonwalker was meant to be a feature-length companion piece to Jackson’s 1987 album (his fourth major release as a solo artist), Bad. The compilation release (which debuted the following year) combined Jackson’s professional career (via animated montages, news reels, music videos, and short films) with a fantasy adventure involving three kids (Sean Lennon, Kellie Parker, and Brandon Adams), a maniacal villain, and shooting stars. It turned out to be a piece that some considered ego-driven (similar to Prince’s aforementioned movies). One of Moonwalker’s producers argues otherwise. 

I think the opening “Man in the Mirror” segment (while a great track) wasn’t needed, and the film could’ve started either with the career montage or jump right into the kid recreation of “Bad.” Some suggestive dancing and violent action (gunplay and explosions) are also present, with references to the antagonistic Mr. Big (played by Joe Pesci) kidnapping children, abusing them, and selling drugs. Did I mention that (weirdly) Jackson turns into a car and a giant Transformers-like robot? 

Moonwalker has a few key moments, particularly the “Speed Demon” segment directed by stop-motion pioneer Will Vinton (best known for co-creating the California Raisins), full of fast-motion and trademark morphing effects, with Jackson chased by a mob of fans and paparazzi while disguised as Spike the Rabbit (something I remember as a kid). Plus, that cover of the Beatles’ “Come Together” is awesome. Probably the one segment that most fans would remember is the noir-centered “Smooth Criminal.” That being said, the latter (directed by Colin Chilvers) works just fine on its own, topped with Michael’s famous zoot suit and phenomenal dancing. (Seriously, that lean!) Jackson has said that this was his favorite short film he ever made. But it feels a little out of place in the grand scheme of things here. The final film (with new segments directed by Jerry Kramer), while ambitious and experimental with its show-don’t-tell approach, is uneven and, at times, overly sentimental. 

However, it works best when it focuses less on Jackson’s fame—and role as a “superhero”—and more on him as a person and how said fame affects him (hence, why “Speed Demon” and “Leave Me Alone” stand out). Moonwalker is strictly for MJ fans, if only for the nostalgia. Even so, I can only imagine how those same fans felt watching this movie after Jackson’s passing in 2009. 

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