MICHAEL (2026, USA/UK, 127m, 12) ***½
Biography, Drama, Music
dist. Lionsgate (USA), Universal Pictures (UK); pr co. Lionsgate / GK Films / Universal Pictures
d. Antoine Fuqua; w. John Logan; pr. John Branca, Graham King, John McClain; ph. Dion Beebe (Colour | 1.85:1); m sup. John Warhurst; ed. John Ottman, Harry Yoon, Conrad Buff IV, Tom Cross; pd. Barbara Ling; ad. Eric Sundahl; cos. Marci Rodgers.
cast: Jaafar Jackson (Michael), Colman Domingo (Joseph Jackson), Nia Long (Katherine Jackson), Miles Teller (John Branca), Laura Harrier (Suzanne de Passe), KeiLyn Durrel Jones (Bill Bray), Jamal Henderson (Jermaine Jackson), Tre’ Horton (Marlon Jackson), Rhyan Hill (Tito Jackson), Joseph David-Jones (Jackie Jackson), Jessica Sula (La Toya Jackson), Kendrick Sampson (Quincy Jones), Larenz Tate (Berry Gordy), Liv Symone (Gladys Knight), Mike Myers (Walter Yetnikoff), Deon Cole (Don King), Juliano Valdi (Young Michael), Jayden Harville (Young Jermaine Jackson), Jaylen Lyndon Hunter (Young Marlon Jackson), Judah Edwards (Young Tito Jackson).
Featuring a skillfully authentic lead performance from Jaafar Jackson, this musical biopic tells the story of his uncle, soul legend Michael Jackson, up to the year 1988, before his career was marred by controversy. Opening with the period in which Jackson’s domineering father controlled the careers of his young sons, the film portrays Michael as a boy who was not allowed to fulfil his childhood and ultimately remained a child in an adult’s body as he established a solo career and a final split from his father’s influence. Trying to condense such a complex personality’s partial life story into a two-hour-plus running time inevitably makes the film seem superficial and come across as an edited highlights overview rather than an in-depth study of his character. But those highlights do offer up a portrait of a naive young man looking to pursue his dreams, with the Peter Pan analogies and Jackson’s need for a connection with children present throughout. Immaculately shot, recreated music performances are what lift the film into something of a celebration of Jackson’s talent and work. A sequel seemingly promised at the film’s conclusion suggests a follow-up will cover the singer’s difficult later life.
