Neither adaptations of Michael Jackson’s life nor biopics of famous singers are anything new. Elvis and Whitney Houston: I Wanna Dance with Somebody both hit the big screen in 2022 alone, and Bob Marley: One Love wasn’t far behind in 2024 – and that’s just to name a few from the last few years. Jackson’s life has also been the focus of many adaptations on and off the screen, including in the Tony Award-winning Broadway show MJ: The Musical, which also made its debut in 2022 and depicts Michael’s early life and rise to stardom. The odds were therefore stacked against Michael when it came to making a real impression, and the fact that Jackson is one of the most celebrated artists of all time didn’t make the movie’s job any easier. However, several factors were in its favor. For one, Michael Jackson’s real-life nephew, Jaafar Jackson, stars in the lead role, and the resemblance he bears to his uncle in the film is striking. Lionsgate also seems to have spared no expense, with an estimated $170 million budget thrown behind the movie. Those numbers actually make this one of Lionsgate’s most expensive movies to date. The finished product has more than justified the cost. From the casting to the costumes to the full-fledged concert performances, Michael lives up to the legendary status of its namesake.
Michael Is As Close To The Real Deal As It Gets In 2026

Unquestionably the standout element of Michael is the stellar cast. Jaafar Jackson as Michael is as close to resurrecting the King of Pop as a movie can get, and it’s easy to forget that he isn’t actually Michael Jackson. This is true during the film’s concert scenes, many of which feel like they could be taken directly from Jackson’s actual tours, but Jaafar captures Michael Jackson’s smaller mannerisms as well, right down to his dead-ringer voice and smile. He also pulls off many of his uncle’s signature moves, including his iconic moon walk. Yet, Jaafar Jackson isn’t the only one to play his uncle in this movie. The first third or so depicts Michael Jackson’s early years, with Juliano Valdi portraying him. Valdi is likewise brilliant in the role, capturing the once-in-a-generation talent that Michael Jackson showcased even as a child, while also bringing his painful home life and deep feelings of loneliness to life. The supporting cast members are similarly solid. Colman Domingo’s Joseph Jackson is appropriately detestable, and Nia Long’s portrayal of Michael’s mother, Katherine, delivers some of the movie’s most emotional scenes. Music biopics also face the uphill battle of balancing a cohesive and compelling narrative arc with the songs audiences head to theaters wanting to hear. Historically, this has led to complaints about them relying too heavily on the music and leaving a good story by the wayside. Michael doesn’t suffer from that affliction. Unlike the at-times-cartoonish depiction of Elvis Presley in Elvis, for example, Michael offers viewers a deeper look at Michael Jackson’s complex inner world in a narrative that could stand on its own, separate from the music.

If Michael has flaws, they are few and far between.

However, it doesn’t have to: Interspersed throughout those dramatic scenes are musical sequences that reflect the movie’s production value. In fact, if certain numbers go on for a bit too long, the film can surely be forgiven for reveling in Jaafar Jackson’s uncanny performances, the stunning costumes that look straight out of a 1970s magazine, and the concert movie-level quality of the staging. At certain points, the experience became so immersive that it was difficult to discern whether the sounds of cheering fans were coming from the fictional concertgoers or from the real theater audience. (On more than one occasion, it proved to be both.)

Michael Jackson Singing in Michael (2026)

If Michael has flaws, they are few and far between. Of note is certainly the fact that some of Michael Jackson’s relatives have expressed displeasure with the content of the movie, including his daughter, Paris Jackson, and his sister, Janet Jackson (neither of whom are depicted in the film). Although that doesn’t have a direct bearing on the narrative for audiences, it’s relevant context, particularly because Paris’ criticisms have included the suggestion that Michael is a sanitized, untrue, and even fantastical version of her father’s life. Whether that’s true is difficult to say from an outside perspective, but even so, it wouldn’t make Michael any less entertaining. Arguably, this concern over the movie’s accuracy is beyond the purview of the average viewer for that reason, but it should nevertheless be considered among the film’s shortcomings. A less serious grievance is the inclusion of Michael Jackson’s pet chimpanzee, Bubbles. One of the few elements of Michael that fully takes audiences out of the story is Bubbles’ CGI design, which looks distractingly out of place in a movie that is otherwise so visually stunning.

A few scenes also drag a bit more than others and likely could have been left on the cutting room floor, many of them having to do with Michael’s father. Michael establishes that Joseph is far from a warm, loving father early on, which for even the loosest fans is already common knowledge. Because of that, repeated scenes emphasizing his mistreatment of Michael begin to feel like overkill, especially in a movie that should spend its time and energy on Jaafar Jackson’s mind-boggling, doppelgänger performance. Those details aside, Michael is a masterclass in what a biopic should be. Energetic, sincerely funny, and dedicated, at the very least, to bringing the style and voice of Michael Jackson to life on the big screen, the movie will leave audiences feeling as though they truly know the legendary superstar and disappointed that the narrative comes to a close just as the King of Pop’s career is taking a turn toward independence. However, fans don’t have to be too sad: Before the credits roll, Michael confirms “His story continues,” signaling that a sequel may be in the cards.

Release Date

April 24, 2026

Runtime

130 minutes

Director

Antoine Fuqua

Writers

John Logan

Producers

Graham King, John Branca, John McClain