Michael Review: Does the King of Pop Biopic Thrill?

We open in the early 1970s, with a young Michael (Juliano Krue Valdi) already possessed by a voice and a groove that seems to have arrived from another planet. The film chronicles his rise from the Jackson 5’s Motown breakthrough (cue the Afros and matching suits) through the turbulent Off the Wall and Thriller eras, all the way to the peak of his solo career. But this isn’t a greatest-hits jukebox - Fuqua and writer John Logan dive into the relationships that shaped him: the iron-fisted ambition of father Joseph (Colman Domingo, simmering with menace), the quiet anchor of mother Katherine (Nia Long), and the cunning business acumen of manager John Branca (Miles Teller, doing his best shark smile). The film frames Michael’s life as a relentless pursuit of perfection - off-stage, he’s a lonely genius searching for a childhood he never had; on-stage, he’s a force of nature who bends reality around his moves. Expect iconic recreations of the Motown 25 Billie Jean performance and the making of Thriller, but also quieter moments: the late-night studio obsessions, the strain of constant touring, the growing isolation. The narrative stops just before the 2005 trial, giving us a Michael at the height of his power but already haunted by the cracks in the mirror.

Let’s address the elephant in the room: Michael Jackson’s legacy is complicated, and Michael picks its battles carefully. Fuqua doesn’t shy away from the whispers - there’s a brief, uncomfortable scene about the 1993 allegations that feels more like a glancing blow than a deep cut - but the film’s primary loyalty is to the artist, not the tabloid narrative. That might frustrate viewers looking for a full warts-and-all expose, but it also allows the movie to do what it does best: remind you why Michael was Michael.

The real star? Jaafar Jackson. He doesn’t just impersonate his uncle; he inhabits him. The way he tilts his head, the soft-spoken voice that crackles with intensity, the explosive physicality of the dance moves - it’s eerie in the best way. When he performs Rock With You on a soundstage, you forget you’re watching an actor. The concert sequences, shot with Fuqua’s signature kinetic energy, are pure adrenaline. Colman Domingo is a powerhouse as Joseph Jackson, turning a potentially one-dimensional villain into a man whose love and cruelty are tangled beyond repair. Nia Long’s Katherine is the emotional heart, always watching from the wings with a mixture of pride and fear.

On the downside, the film’s 128-minute runtime feels slightly bloated in the middle. The “making of Thriller” sequence goes on long enough to make you wish for a separate behind-the-scenes documentary. Some supporting characters - like Larenz Tate’s Berry Gordy and Laura Harrier’s Suzanne de Passe - are under-utilized, feeling more like cameos than catalysts. And while the script dodges definitive judgment on the allegations, it also avoids the psychological complexity that could have elevated Michael from a good biopic to a great one. Still, when the music hits - and it hits often - none of that matters. You’re just in the presence of something transcendent.

Pros

• Jaafar Jackson gives a career-making, goosebump-inducing performance
• The concert and rehearsal scenes are cinematic magic - pure visual pop art
• Colman Domingo and Nia Long ground the family drama with genuine weight
• Fuqua balances spectacle with intimacy; the studio scenes feel raw and alive
• The costume and production design are meticulous, transporting you to each era

Cons

• The script glosses over the most controversial aspects of Jackson’s life; some may find it frustratingly safe
• Pacing drags in the second act; the “making of Thriller” section overstays its welcome
• Supporting roles for Berry Gordy and Suzanne de Passe feel like wasted potential
• The film’s emotional arc peaks too early; the final act lacks the same punch

Michael is a thrilling, flawed, and heartfelt valentine to an icon who still - decades later - defies easy understanding. It won’t answer all your questions, and it probably won’t change your mind about the man’s personal controversies, but it will absolutely remind you why the world once stopped spinning when he snapped his fedora or grabbed his crotch. Jaafar Jackson is a revelation, and Fuqua’s direction ensures that the film’s best moments feel less like a biopic and more like a wake. If you go in expecting a complete human portrait, you might leave a little unsatisfied. But if you go in hoping to feel the music, the movement, and the madness of a true original? You’ll be dancing in your seat by the end credits.