Michael (2026) Review!!

Synopsis – The story of the famous musician Michael Jackson, known as the King of Pop.

My Take – With most musical biopics performing reasonably well at the box office, it is clear that the trend is not fading anytime soon. Yet, despite being centered on remarkable artists, none of these films capture the level of fame achieved by Michael Jackson, a true icon whose brilliance continues to shine even after his passing in 2009.

After all, every music lover across the globe has listened to his songs countless times and marveled at his mesmerizing dance moves. Over the years, we may have read about him in books or seen documentaries on television, but surprisingly until now there had never been a feature film dedicated to his life. And this one promised not only to portray his formative years, struggles, and rise to superstardom, but also to explore his personality, family dynamics, and the pain behind his fame, making his story both relatable and deeply moving.

Unfortunately, the final product falls short of the magnitude of the artist it seeks to portray. It functions more as a visually polished yet shallow cinematic version of a greatest hits album. Resulting in a harmless but superficial tribute, that offers even less depth than his Wikipedia page, which at least acknowledges the controversies that shaped his legacy. The film avoids any attempt at an impartial portrait or a challenging exploration of a celebrity who transformed from the world’s most beloved pop star into a complex and controversial figure.

That is not to say the film is outright bad, as director Antoine Fuqua (Training Day and The Equalizer) does his best with a production that seems to have shifted course midway, likely due to interference from Optimum Productions, the Jackson family’s company overseeing his estate and intellectual property. With the goal appearing to have been maximum profitability and effortless viewership rather than artistic risk.

What remains is an homage to the performer and his work, but not a story worth telling or a biopic that pushes boundaries. By settling for the bare minimum, the film betrays the spirit of an artist who constantly strove to be the best. It is ironic to see a PR-driven film about a star who once believed that his work should speak for itself, not his publicity.

Even so, the film will likely succeed commercially. As audiences seem ready to embrace Michael Jackson once again. What they are not prepared to do is confront him critically.

The story opens in Gary, Indiana, the Jackson family’s hometown. It is 1960, and Joseph (Colman Domingo), a steelworker, begins shaping his five sons into what would become The Jackson 5. His wife Katherine (Nia Long) watches quietly, bearing witness as Joseph pushes their most gifted child, Michael (Juliano Krue Valdi), with relentless discipline. Before long, the group rises to the top of the charts, selling out concerts and eventually signing with Motown Records.

By 1978, Michael (Jaafar Jackson) releases his first solo album. Yet his ambitions remain constrained by Joseph, who insists that he alone is responsible for his children’s success. Determined to take control of his own career, Michael hires attorney John Branca (Miles Teller) in 1981 and has him dismiss Joseph. This decisive move allows Michael to finally express his own ideas and emotions through his music, setting the stage for his transformation into one of the greatest performers of all time.

For much of its runtime, director Fuqua rushes through the early years without grappling with the musician’s arrested development or the way his traumatic childhood reshaped him. The script from John Logan (The Aviator, Skyfall) reduces the story to a single central conflict: Michael versus his father, Joseph. It becomes yet another abusive father narrative, familiar and predictable. While this is grounded in reality, it lacks dramatic weight, as the characters never truly confront one another or themselves.

The film treats adult Michael’s eccentricities, such as reading a children’s edition of Peter Pan well into adulthood or befriending animals because they demanded nothing of him, as whimsical quirks rather than painful reflections of isolation. His insecurities and body dysmorphia are brushed aside, with only a passing nod to his fixation on a narrow, upturned nose, linked to his identification with Peter Pan. What could have been a tragic exploration of his desire to escape his family life is instead softened into something almost cute. There are, however, standout moments.

One striking sequence depicts MTV’s refusal to air Michael’s music, citing its policy against promoting Black artists. It is a rare instance where the film confronts the harsh realities of racism, showing that even the world’s biggest star was not immune to systemic prejudice.

Yet, despite its shortcomings, the film remains highly engaging, carried by Jackson’s timeless music and Fuqua’s energetic pacing. Even when the narrative falters, the sheer spectacle and emotional pull of the songs keep audiences invested from start to finish. From Jackson’s childhood hits through Thriller and into the Bad era, every song lands with power. Yet the film cannot claim credit for this impact, as the music’s brilliance exists independently of the narrative.

The story concludes in 1984, after the release of Thriller and the Jacksons’ “Victory Tour.” A brief coda in 1988 awkwardly inserts a performance of Bad, but it feels like an afterthought. By ending here, the film sidesteps the darker chapters: the allegations, the dramatic changes in his appearance, the hollow marriages, and the infamous moment when he dangled his infant son from a Berlin hotel balcony.

The performances are the film’s strongest asset, elevating the material even when the script falters. Jaafar Jackson, making his on-screen debut as his uncle, delivers a charismatic and authentic portrayal that feels lived-in rather than imitative. Juliano Valdi brings innocence and vitality to young Michael, while Colman Domingo embodies Joseph Jackson with commanding intensity, exposing the harsh realities of Michael’s upbringing. Nia Long adds warmth and emotional grounding as Katherine, the supportive mother behind the legend.

Miles Teller, despite his star power, is underutilized, and the Jackson brothers are relegated to little more than background figures, which feels like a missed opportunity given their importance in Michael’s life. Supporting players such as KeiLyn Durrel Jones, Larenz Tate, Laura Harrier, and Mike Myers leave a respectable impression, but the film never fully capitalizes on its ensemble. On the whole, ‘Michael’ is a polished yet shallow portrait, an engaging tribute that never rises above safe familiarity.