Michael (2026) Lionsgate/Drama-Musical RT: 127 minutes Rated PG-13 (some thematic material, language) Director: Antoine Fuqua Screenplay: John Logan Music: Lior Rosner Cinematography: Dion Beebe Release date: April 24, 2026 (US) Cast: Jaafar Jackson, Colman Domingo, Nia Long, Miles Teller, KeiLyn Durrel Jones, Laura Harrier, Juliano Krue Valdi, Jayden Harville, Jayden Lyndon Hunter, Judah Edwards, Nathaniel Logan McIntyre, Jamal R. Henderson, Tre Horton, Rhyan Hill, Joseph David-Jones, Jessica Sula, Kendrick Sampson, Larenz Tate, Mike Myers, Liv Symone, Deon Cole.
Rating: ***
The key to understanding the Michael Jackson biopic Michael is going in knowing that several members of the Jackson family (including the late Tito) serve as executive producers. What this means is that the King of Pop’s life has been sanitized for mass consumption. The late singer is painted as a troubled saint who never grew up just like his favorite childhood story character Peter Pan.
It’s interested to note how mixed the reviews for Michael are. Audiences love it. Critics hate it. I haven’t seen the two this sharply divided since a certain Michael Bay summer blockbuster (I’m looking at you, Armageddon!). I can see both sides of the debate. I’ll grant that it’s disappointingly shallow and treats Michael’s brothers as glorified extras. At the same time, it’s consistently interesting and the music is dynamite. Also, first-time Jaafar Jackson (Michael’s real-life nephew, son of Jermaine) is very good in the title role. He might not be his uncle’s doppelganger, but he brilliantly captures the essence of the man, the myth, the legend.
Reportedly, there is a second MJ movie being planned. Michael is the first half of his story. It covers the years 1966-1988. It begins with the formation of Jackson 5 by the boys’ demanding, abusive dad Joseph (Domingo, The Running Man). They play a few gigs before being signed to Motown by Berry Gordy (Tate, Menace II Society) who believes Michael (played as child by Valdi) will be a huge star someday. It’s that voice of his. He can do amazing things with it. The family moves from Gary, IN to a huge mansion in Encino.
In 1978, MJ embarks on a solo career with his debut album Off the Wall. He follows it up with Thriller, the best-selling album of all time. MJ becomes a worldwide pop superstar beloved by millions of fans. Unfortunately, he still can’t get out from under his father’s controlling thumb. He can’t even look him in the eye. He has to learn to stand up to Joseph and refuse to give in to his demands. This is the film’s main dramatic conflict.
That’s Michael in a nutshell. It hits on the salient points in the artist’s life like his close relationship with his mother Katherine (Long, Friday), his affinity for unusual pets (a giraffe, a llama and a monkey), the making of the Thriller video, his accident on the set of a Pepsi commercial and the Victory Tour in ’84. It’s all very interesting, but director Antoine Fuqua (Training Day) doesn’t explore any of it with any real depth. He presents it all as parts of a whole that fit together yet don’t paint a complete picture.
I think a lot of the problem is what I told you in the opening paragraph. The Jackson family had creative control and wanted to make Michael (and by extension, themselves) look good. To do that, they sugarcoat his story, simplifying the complexities of his off-stage person. We get a very basic understanding of his need for a positive male role model because of his dysfunctional relationship with Joseph (whom NONE of the boys call Dad). He looks to Berry Gordy and his bodyguard-for-hire Bill (Jones) for guidance throughout his life. All Joseph does is tell him what to do or think. If Michael hesitates or asks questions, he gets beaten with a belt. Fuqua barely scratches the surface of Michael’s psychology. He stays as close to the surface as possible.
The music, now that’s where the magic in Michael happens. It’s great! Jaafar sounds and moves just like MJ. He doesn’t just play his uncle; he embodies him. Watching him moonwalk across the stage at the Motown 25th Anniversary Show was just like that amazing night in ’83. The world witnessed a true moment in music history; the night breakdancing became part of the conversation. We also feel the torment afterwards when Joseph shows up at the after party claiming the moment for himself. It’s yet one more instance of father trying keep his more successful son down.
Joseph Jackson is the villain of MJ’s story and Domingo knows it. He plays the part for all its worth. He is Daddy Dearest. It always has to be his way and God help anyone who questions it. Long is also very good as the loving and protective mom who refuses to back down when it comes to her sensitive son. She’s the one who provides love and encouragement. She lets Michael be Michael. Miles Teller (Top Gun: Maverick) has some good moments as John Branca, the entertainment lawyer who helps free MJ from his father’s control via fax machine. Mike Myers (Wayne’s World) contributes a funny cameo as the head of CBS Records who strong-arms MTV into adding his client’s videos to their all-white rotation. If you listen closely, you can hear echoes of his SNL character Linda Richman.
Michael is a slick production. It looks and sounds great. It lovingly recreates the 60s, 70s and 80s. The editing is tight without being too flashy. The screenplay by John Logan is fairly standard. It’s one of those biopics that show the highlights of the subject’s life while his greatest hits serve as connective tissue. It may not rise to level of musical biopics like Coal Miner’s Daughter (1980), La Bamba (1987) and Ray (2004), but it doesn’t stink either. It’s good. Remember you heard that from a critic.
