Jaafar Jackson as Michael Jackson in a still from Antoine Fuqua’s Michael.Glen Wilson / © Lionsgate / Courtesy Everett Collection

Not only did the Michael Jackson biopic destroy box-office records in its first weekend of release, but it set a new benchmark that’ll be difficult to cross for future films. Titled Michael, the film defied poor reviews and resurfaced controversies about Jackson’s personal life, riding a wave of enthusiastic audience support to gross 30% more in its first weekend than the previous best for a music biopic. It also exceeded the opening weekend haul of Christopher Nolan’s Oppenheimer, which holds the record for the highest-grossing biopic of all time. Nolan’s film grossed more than $975 million in its theatrical run three years ago, and Michael has positioned itself to become the genre’s first blockbuster to pass the coveted $1 billion mark worldwide.

Starring Jaafar Jackson as his real-life uncle, the King of Pop, Michael was directed by Antoine Fuqua. The filmmaker has delivered hit films in the past, but not like this. For instance, Michael outgrossed all three of Fuqua’s The Equalizer movies in a single weekend. It also beat the filmmaker’s The Magnificent Seven remake and the action franchise-starter Olympus Has Fallen. In fact, Michael is already Fuqua’s highest-grossing release at the worldwide box office after just three days. And it has achieved this feat despite a 38% critics’ score on Rotten Tomatoes. However, the movie has greatly benefited from a “Verified Hot” 97% audience score on the aggregator website.

Collider Exclusive · Oscar Best Picture Quiz
Which Oscar Best Picture
Is Your Perfect Movie?
Parasite · Everything Everywhere · Oppenheimer · Birdman · No Country

Five Oscar Best Picture winners. Five completely different visions of what cinema can be — and what it can do to you. One of them is the film that was made for the way your mind works. Ten questions will figure out which one.

🪜Parasite
🌀Everything Everywhere
☢️Oppenheimer
🐦Birdman
🪙No Country for Old Men

FIND YOUR FILM →

01
What kind of film experience do you actually want?
The best movies don’t just entertain — they leave something behind.

ASomething that pulls the rug out — that makes me think I’m watching one kind of film and then reveals I’m watching another entirely.
BSomething overwhelming — funny, sad, absurd, and genuinely moving, all at once.
CSomething grand and weighty — a film that makes me feel the full scale of what I’m watching.
DSomething formally daring — a film that pushes what cinema can even do.
ESomething lean and relentless — pure tension with no wasted frame.

NEXT QUESTION →

02
Which idea grabs you most in a film?
Great films are driven by a central obsession. What’s yours?

AClass, inequality, and what people are willing to do when desperation meets opportunity.
BIdentity, family, and the chaos of trying to hold your life together when everything is falling apart.
CGenius, moral responsibility, and the catastrophic weight of a decision you can never take back.
DEgo, legacy, and the terror of becoming irrelevant while you’re still alive to watch it happen.
EEvil, chance, and whether moral order actually exists or if we just tell ourselves it does.

NEXT QUESTION →

03
How do you like your story told?
Form is content. The way a story is shaped changes what it means.

AGenre-twisting — I want it to start in one lane and migrate into something completely different.
BMaximalist and genre-blending — comedy, action, drama, sci-fi, all in one ride.
CEpic and non-linear — cutting between timelines, building a mosaic of cause and consequence.
DA single unbroken flow — I want to feel like I’m living it in real time, no cuts to safety.
ESpare and precise — every scene doing exactly what it needs to do and nothing more.

NEXT QUESTION →

04
What makes a truly great antagonist?
The opposition defines the protagonist. What kind of opposition fascinates you?

AA system — invisible, structural, and almost impossible to fight because it has no single face.
BThe self — the ways we sabotage, abandon, and fail the people we love most.
CHistory — the unstoppable momentum of events that no single person can stop or redirect.
DThe industry — the machinery of culture that chews up talent and spits out irrelevance.
EPure, implacable evil — a force so certain of itself it becomes almost philosophical.

NEXT QUESTION →

05
What do you want from a film’s ending?
The final note is the one that lingers. What do you want it to sound like?

AShock and inevitability — a conclusion that recontextualises everything that came before it.
BEarned emotion — I want to cry, laugh, and feel genuinely hopeful, even if the world is a mess.
CDevastation and grandeur — an ending that makes me sit in silence for a few minutes after.
DAmbiguity — something that leaves enough open that I’m still thinking about it days later.
EBleakness — an honest refusal to pretend the world is tidier than it actually is.

NEXT QUESTION →

06
Which setting pulls you in most?
Where a film takes place shapes everything — mood, stakes, what’s even possible.

AA gleaming modern city with a hidden underside — beauty masking rot, wealth masking desperation.
BA collapsing suburban life that opens onto something infinite — the multiverse of a single ordinary person.
CThe corridors of power and science at a world-historical turning point — where decisions echo for decades.
DThe grimy, alive chaos of New York and Hollywood — fame as both destination and trap.
EVast, indifferent landscape — desert and highway where violence arrives without warning or reason.

NEXT QUESTION →

07
What cinematic craft impresses you most?
Every great film has a signature — a technical or artistic element that makes it unmistakable.

AProduction design and mise-en-scène — every frame composed to carry meaning beneath the surface.
BEditing and tonal control — the ability to move between registers without losing the audience.
CScore and sound design — music that becomes inseparable from the dread and awe of what you’re watching.
DCinematography as performance — the camera not recording events but participating in them.
ESilence and restraint — what’s left unsaid and unshown doing more work than any dialogue could.

NEXT QUESTION →

08
What kind of main character do you root for?
The protagonist is the lens. Who you choose to follow says something about you.

ASomeone smart and resourceful who makes increasingly dangerous decisions under pressure.
BSomeone overwhelmed and ordinary who turns out to be capable of something extraordinary.
CA brilliant, tortured figure whose gifts and flaws are inseparable from each other.
DA self-destructive artist whose ego is both their superpower and their undoing.
EA quiet, principled person trying to make sense of a world that has stopped making sense.

NEXT QUESTION →

09
How do you feel about a film that takes its time?
Pace is a choice. Some films sprint; others let tension accumulate slowly, deliberately.

AI love a slow build when I know the payoff is going to be seismic — patience for a devastating reveal.
BGive me relentless momentum — I want to feel breathless and emotionally spent by the end.
CEpic runtime doesn’t scare me — if the material demands three hours, give me three hours.
DI want it to feel propulsive even when nothing is technically happening — restless energy throughout.
EDeliberate and unhurried — I want dread to accumulate in the spaces between the action.

NEXT QUESTION →

10
What do you want to feel walking out of the cinema?
The best films leave a mark. What kind of mark do you want?

AUnsettled — like I’ve just seen something I can’t fully explain but can’t stop thinking about.
BMoved and energised — like the film reminded me what actually matters and gave me something to hold onto.
CHumbled — like I’ve been in the presence of something genuinely important and overwhelming.
DExhilarated — like I’ve just seen cinema doing something it’s never quite done before.
EHaunted — like a cold, quiet dread that stays with me for days.

REVEAL MY FILM →

The Academy Has Decided
Your Perfect Film Is…
Your answers have pointed to one Oscar Best Picture winner above all others. This is the film that was made for the way your mind works.

Parasite
You are drawn to films that operate on multiple levels simultaneously — that begin in one genre and quietly, brilliantly migrate into another. Bong Joon-ho’s Parasite is a film about class, desire, and the architecture of inequality that manages to be darkly funny, deeply suspenseful, and genuinely shocking across a single extraordinary running time. Your instinct is for cinema that hides its true intentions until the moment it’s ready to reveal them. Parasite is exactly that — a film that rewards close attention and punishes assumptions, right up to its devastating final image.

Everything Everywhere All at Once
You want it all — and this film gives you all of it. The Daniels’ Everything Everywhere All at Once is one of the most maximalist films ever made: action comedy, multiverse sci-fi, family drama, existential crisis, and a genuinely earned emotional core that sneaks up on you amid the chaos. You are someone who responds to ambition, who doesn’t want cinema to choose between being entertaining and being meaningful. This film refuses that choice entirely. It is overwhelming by design, and its overwhelming nature is precisely the point — because the feeling of being crushed by infinite possibility is exactly what it’s about.

Oppenheimer
You are drawn to cinema on a grand scale — films that understand history not as a backdrop but as a force, and that place their characters inside that force and watch what happens. Christopher Nolan’s Oppenheimer is a film about the terrifying gap between what we can do and what we should do, told with the full weight of one of the most consequential moments in human history behind it. You want your films to feel important without feeling self-important — to earn their ambition through sheer craft and the gravity of their subject. Oppenheimer does exactly that. It is enormous, complicated, and refuses easy comfort.

Birdman
You are drawn to films that foreground their own construction — that make the how of the filmmaking part of the what it’s about. Alejandro González Iñárritu’s Birdman, shot to appear as a single continuous take, is cinema examining itself through the cracked mirror of a fading actor’s ego. You respond to formal daring, to the feeling that a film is doing something that probably shouldn’t be possible. Michael Keaton’s performance and Emmanuel Lubezki’s restless camera create something genuinely unlike anything else — a film that is simultaneously about creativity, relevance, self-destruction, and the impossibility of ever truly knowing if your work means anything at all.

No Country for Old Men
You are drawn to cinema that trusts silence, that refuses to explain itself, and that treats dread as a form of meaning. The Coen Brothers’ No Country for Old Men is a film about the arrival of a new kind of evil — implacable, arbitrary, and utterly indifferent to the moral frameworks we use to make sense of the world. It is one of the most formally controlled films ever made, and its controlled restraint is what makes it so terrifying. You want your films to haunt you, not comfort you. You are not interested in resolution if resolution would be dishonest. No Country for Old Men is honest in a way that most cinema never dares to be.

↻ RETAKE THE QUIZ

Here’s How Much ‘Michael’ Has Grossed at the Box Office

With just under $100 million domestically and more than $215 million worldwide, Michael has also overtaken the entire lifetime haul of the Elton John biopic, Rocketman. Directed by Dexter Fletcher and starring Taron Egerton, Rocketman opened to significantly better reviews in 2019 and concluded its run with around $195 million worldwide against a reported budget of $50 million. The movie was released in the wake of the Freddie Mercury biopic Bohemian Rhapsody, which generated more than $900 million globally and was pushed over the line by Fletcher after the firing of original director Bryan Singer. Michael, however, cost four times as much as both Rocketman and Bohemian Rhapsody, with reshoots reportedly pushing its budget past the $200 million mark.

Also starring Colman Domingo, Miles Teller, and Nia Long, Michael is playing in theaters. Stay tuned to Collider for more updates.

Release Date

April 24, 2026

Runtime

130 minutes

Writers

John Logan

Producers

Graham King, John Branca, John McClain