Like so many music biopics, Michael opens with the titular Jackson preparing for the performance of a lifetime. Before he can play, though, Michael needs to think about his entire life. Well, technically only the first half of his life. They might be saving the second half for a sequel, presumably called Michael: For Bad. We then cut to a young Michael watching other kids playing in the snow. Joe Jackson (Colman Domingo) scorns his son, telling little Michael to fall in line with his four interchangeable brothers. You can’t always judge a movie by its first scene, but this is an accurate representation of Michael.
If you’re looking for an original take on Michael Jackson, go watch the Teddy Perkins episode of Atlanta. For a safe, sanitized, and sexually ambiguous depiction, we have this biopic. The irony is that Michael is about a man trying to break free from his father’s control and express himself creatively. Yet, the film feels controlled to the point that we can practically see the heads of Jackson’s estate pulling the strings. Miles Teller notably plays John Branca, the co-executor of Jackson’s estate and a producer on the film. He’s portrayed as calm, responsible, and always having Michael’s best interest at heart. Joe Jackson, meanwhile, only cares about preserving the Jackson brand, but isn’t that essentially what Branca is doing with this movie?
While John Logan’s script for Michael sucks out any intrigue, the performances do light up the screen. Even when playing a one-dimensionally abusive father, you can always count on Domingo to give a charismatic performance. Juliano Krue Valdi, who voiced the titular character in the English dub of Arco, is undeniably charming as young Michael. The selling point for the film is Jaafar Jackson as his uncle. You can chalk up his casting to nepotism, but, at the risk of sounding cliché, Jaafar becomes Michael, from his voice, to his look, to his moonwalk. There’s zero doubt that Jaafar Jackson was born for this role in more ways than one. I also genuinely believe Jaafar can have an acting career beyond this film, in what will be remembered as a star-making turn.
The issue is that Michael doesn’t provide much insight into Jackson, other than that he was deprived of a traditional childhood. Upon trying to go solo, Michael repeatedly tells his father he’s a man now, despite spending his money on toys and exotic pets. The film doesn’t really delve into Michael’s childlike psyche, however. It also doesn’t address his dynamic with children, aside from a few scenes where he signs autographs and visits sick kids in the hospital. Initially, the filmmakers were going to incorporate the Jordan Chandler scandal, although due to a legal oversight, the original third act had to be scrapped. Even if this subplot had been included, Michael isn’t for audiences who want to revisit his controversies. It’s for fans who just want to relive his greatest hits.
You might as well call this The Super Michael Galaxy Movie, being tailored for diehard fans with minimal thought going into the story. As someone who enjoyed both Mario movies for what they were, you might say I’m being too harsh on Michael. At least the Mario films were visually interesting, though. While Michael has a banger soundtrack, Antoine Fuqua’s direction of the musical numbers comes off mundane. Surprising, considering that Fuqua got his start directing music videos.
What’s more, Mario isn’t the most complex figure to center a movie on. People have differing views on Jackson, although if there’s one thing everyone can agree on, it’s that he was complex. This doesn’t shine through in Michael, which not only plays it too safe from a narrative standpoint, but the film doesn’t have anything interesting to say about its subject. That is, except that Michael was Peter Pan and Joe was Captain Hook. The film revolves around Michael trying to reach Neverland. Yet, Michael never quite takes flight.