by Chantal Ashford, Contributing Writer
As a lifelong fan of Michael Jackson, there was no way I wasn’t going to be seated for this biopic. I came in hoping for something bold—full of flair, drama, and a real sense of the man behind the legend. Directed by Antoine Fuqua, Michael traces Jackson’s life from his early days with the Jackson 5 through the Bad era of the 1980s. At 127 minutes, though, it barely scratches the surface of a career that spanned five decades.
The film opens in Gary, Indiana, showing the Jackson family’s humble beginnings before racing toward success within what feels like the first 20 minutes. From there, the pacing never quite settles. Fuqua moves through major milestones so quickly that the story feels condensed to the point of being superficial. Instead of letting moments breathe, the film often rushes from one era to the next, creating a kind of emotional disconnect. Ironically, the only time it slows down is during the musical numbers—where nostalgia takes over and you find yourself more tempted to enjoy the performance than engage with the storytelling.
There are also noticeable omissions. While the focus is clearly on Michael, it’s still surprising how absent key figures feel. Janet, Randy and Rebbie barely register, despite being part of the family dynamic that shaped him. Kat Graham’s Diana Ross also cut from the film, adding to the sense that large portions of Jackson’s life have been simplified or trimmed away. Even some of the details that are included—like the emphasis on Bubbles—feel misplaced when more meaningful moments are left unexplored.
Visually, the film does deliver as a period piece. The costumes, hairstyles, and recreations of different eras are strong, and the music—of course—remains timeless. But the narrative itself feels overly polished, almost sanitized. The transitions between the ’60s, ’70s, and ’80s happen so quickly that you barely get a sense of growth or change. It’s all surface-level, never digging deep enough into the complexities of Jackson’s life or artistry.
The standout, without question, is Jaafar Jackson. Taking on the role of his uncle is no small task, but he rises to it effortlessly. From the voice to the mannerisms to the physicality, he embodies Michael in a way that feels authentic rather than imitative. Every time he’s on screen, the film finally comes alive.
Colman Domingo, as Joe Jackson, gives a solid performance, but it never fully taps into the darker, more intimidating aspects of the figure. The portrayal feels restrained when it could have been more unsettling and layered. The rest of the ensemble does what they can, but the script doesn’t give them much to work with, leaving most of them feeling underdeveloped.
In the end, Michael feels like an introduction rather than a complete story. It ends with the sense that there’s more to come—almost like it’s setting up a second part. And honestly, it needs one, because this first chapter feels incomplete.
For all its ambition, the film ultimately falls short. It’s not a terrible watch, but it’s not the definitive Michael Jackson story either. If anything, it feels closer to Bohemian Rhapsody 2.0—and not in a good way. This is one you can wait to catch at home rather than rushing out to see on the big screen.
Rating: It Was Just Okay
Michael is currently in theaters.
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