Like most Michael Jackson fans, I waited with bated breath for the most anticipated film of the year. This isn't just a movie; its a cinematic portrayal of the life and legacy of the most influential artist the world has ever known. MICHAEL doesnt try to be a Wikipedia entry; instead, it focuses on the man behind the music, tracing his journey from the discovery of his preternatural talent in the Jackson 5 to the visionary whose creative ambition fueled a relentless pursuit to become the greatest entertainer on earth.
Rather than trying to capture every second of his existence, director Antoine Fuqua chose a specific lens: Michaels life off-stage, particularly the antagonistic relationship between him and his father, Joseph Jackson. We also get a glimpse of his mother, Katherineportrayed here as "demure" but revealed as a formidable force when pushed to protect her son.
The Art of the Snapshot
Theres a disgruntled 1% complaining that because the film focuses on a specific segment of his life, "its not a story." Dont believe that. Honestly, Michael is such a fascinating character that you could make a standalone film about the creation of each iconic hit. Imagine a movie just on Off the Walla story of beauty and pain, capturing the minutiae of Michael breaking free from Joe Jacksons "crypto-grip" on his creativity.
What those without a creative bent don't realize is that art evolves from experience. Artists create perspectives that surface from the "underbelly" of lifethe good, the bad, and the ugly. This film captures the torment and fear Michael endured under his fathers physical and psychological abuse, which, ironically, birthed the strength and determination he used to express himself. We see how Joes intention to oppress his son backfired, instead forging a fiercely independent creative thinker.
The film is an entertaining ride through the height of his career, prioritizing the spectacle of the music over a deep psychological dive. That said, the performances are what truly fuel the engine:
Colman Domingo (Joe Jackson): He is terrifying. He captures the cool, cold, calculating side of a man who wanted to escape the steel mills of Gary, Indiana, by any means necessary. Domingo plays him with a "steel fist" subtletythe way his cheekbones drop or the way he slowly walks toward his sons is chilling. The film misses Joes own thwarted musical dreams as a member of The Falcons, giving context (though not an excuse) for why he pushed his sons so relentlessly.
Jaafar Jackson (Michael Jackson): To say he "channels" his uncle is an understatement. For those who never saw MJ live, Jaafars portrayal is so perfect I dare say Michael himself would have been happy with it. His body language shifts instantly when Joe enters the room; he embodies that singular, forced existence where Michael, a unique thinker who felt alienated from his brothers and the world, found solace only with animals.
Nia Long (Katherine Jackson): She provides the heart, standing as the quiet bulwark against Joe's intensity.
The Numbers and the Void
The musical sequences are top-notch biopic filmmaking. The sound design, the editing, and the recreation of iconic videos are electrifying. Watching this in a theater felt like an existential momentthe crowd was cheering and singing along as if they were at a live concert. Its rare for a movie to elicit that kind of visceral reaction.
However, the film isn't without its flaws. The most glaring omission is the relationship between Michael and his brothers. The film largely ignores any meaningful interaction between them, leaving the audience to assume they had no bond at all, which feels like a missed opportunity for a story about a family band especially since Joe Jackson states the importance of family repeatedly thtoughout the film
Final Word
The film deliberately spans from 1966 to 1984, with a brief epilogue in 1988. Ultimately, the story is about emancipation. Its the arc of a man breaking away from the mental and physical hold of his father to claim his own throne. Whether you're a lifelong Moonwalker or a casual observer, the sheer talent of Jaafar Jackson and Colman Domingo makes this a ride worth taking.
Visionary Kai EL´ Zabar has worked as CEO of arts organizations and as editor, writer and multimedia consultant accumulating a significant number of years in experience as an executive, journalist,publisher, public relations, media training, marketing, internal and external communications. Kai currently continues her life’s work as Editor-in-Chief Of Chicago News Weekly where she has resumed her column, “E NOTES.” She is ecstatic to be in the position to grace Chicago and the world with a publication that articulates the Black voice.