Michael is dancing its way to theaters later this week — and the critics are already talking.
Following its world premiere, reviews were unveiled, but they appear to be more critical. In the new movie, directed by Antoine Fuqua, the story follows the late Michael Jackson‘s rise to fame from when he was a child in the Jackson 5 in the ’60s to becoming the King of Pop, who was widely recognized as the world’s biggest entertainer, before he died in 2009.
Michael’s nephew, Jaafar Jackson, son of Jermaine Jackson, plays the superstar, taking over from Juliano Valdi, who opens the film when Michael was 10. More cast members include Miles Teller as attorney John Branca, Colman Domingo as Michael’s father Joe Jackson, Kat Graham as Diana Ross, Nia Long as Katherine Jackson, Laura Harrier as Suzanne de Passe, Kendrick Sampson as Quincy Jones and Amaya Mendoza as young La Toya Jackson. Michael’s sister, Janet Jackson, is notably missing.
While many members of the Jackson family showed up at the Dolby Theatre premiere on Monday night to support the film, Paris Jackson, Michael’s only daughter, was absent. She has been vocal against the movie, previously speaking out about how she wasn’t involved with the movie, after reading a draft and giving notes about “what was dishonest/didn’t sit right with me and when they didn’t address it, I moved on with my life.”
“It’s very important that everybody in the family was involved and took part in this to make sure you get it right,” La Toya Jackson told The Hollywood Reporter. “A lot of times people think they know the story and they read about things, but when the family’s involved, the family can say yay or nay.” But when asked about Paris Jackson’s comments, she noted, “everybody has their opinion and their choice.”
La Toya Jackson, however, was seemingly very pleased with the film, especially Jaafar’s performance. “I was flabbergasted. I have to tell you that you think it’s Mike,” she said. “You forget it’s Jaafar, you think it’s Michael.”
Michael has a 31 percent rating on Rotten Tomatoes as of Tuesday. Below, see what critics are saying about the movie.
THR’s chief film critic David Rooney agreed with La Toya Jackson’s take, writing in his review, “Jaafar nails the sweet, soft-spoken voice with which Michael projected a childlike innocence and vulnerability, but also the single-minded focus with which he pushed his career forward. We see his natural affinity for children in fan interactions or hospital visits to pediatric cancer wards.”
He added overall: “The film leaves itself open to accusations of making Michael a saint, which will not sit well with the cancel crowd. If you are unwilling to separate the art from the artist, this will not be a movie for you. But for lifelong fans who cherish the music, the movie delivers. Simply as a celebration of Jackson’s songs and stagecraft, it’s phenomenal, shot by Dion Beebe with visual electricity in the performance sequences. The music has never sounded louder or better.”
USA Today’s Melissa Ruggieri wrote in her review that the film, “makes clear that Jackson’s arrested development began in childhood, when he reads Peter Pan by flashlight under the covers in the family’s home in Gary, Indiana. Later, he populates the family compound in Encino, California, with animals he views as friends, not pets. Too bad the blatant CGI versions of a llama, giraffe, python and yes, Bubbles the chimp are so cringeworthy that you forget to have empathy for Jackson, the lonely man-boy.”
She later added, “Jaafar may share his late uncle’s megawatt smile, lithe frame and Bambi eyelashes. But his liquid dance moves – highlighted as he teaches gang members the footwork in the ‘Beat It’ video − and soft-spoken cadence are studied to perfection. This is not about nepotism.”
Kevin Maher of The Times U.K. teased how Domingo portrayed Joe Jackson, writing in his review, “There are a handful of childhood scenes in which Jackson’s father, Joe is depicted as controlling and violent, which establishes one single dramatic beat for the entire film — will Michael ever escape from underneath Joe’s control?”
He added a more critical take on the ending, “The music scenes nonetheless are quite brilliant and thrilling — Jaafar is an accomplished impressionist. Jackson was a once-in-a-generation genius and his musical legacy is quite safe — his sales spiked by 10 per cent during the Leaving Neverland controversy. In the end he probably deserved more, for better and worse, than this.”
The Independent’s Clarisse Loughrey wrote, “While a final card states that ‘his story continues’ in what is for now a planned sequel, what the film does include are multiple sequences of the singer visiting sick children in hospital, alongside heavy references to the Neverland Ranch. But the ultimate question of how Michael chooses to depict Jackson in context of the allegations is surprisingly hard to answer.”
“This is a frustratingly shallow, inert picture, a kind of cruise-ship entertainment, which can’t quite bring itself to show that Michael was an abuse victim, brutalised by his father and robbed of his childhood,” The Guardian’s Peter Bradshaw wrote in his review. “Perhaps this is because it would have a cause-and-effect implication, gesturing tactlessly at the story’s second half which may or may not happen in a couple of years, the part of Jackson’s life in which his behaviour was increasingly perplexing, dangling a baby over a hotel balcony — as well as facing sexual abuse allegations.”
The New York Times’ Alissa Wilkinson also addressed the serious subject matter that was left out of the film. “The movie omits the really hard stuff that plagued Jackson; his scalp surgery after experiencing third-degree burns in 1984 now becomes mostly a driver of his success and determination to ‘shine my light, to spread love and joy, to heal,’ but we never witness the painkiller addiction that grew from it,” she wrote in her review, adding, “The movie itself becomes a tale of triumph and glory for someone everyone admired, rather than an estate’s attempt to scrub clean the life story of a star who has been multiply accused, in harrowing terms, of child sexual abuse. That same estate is the reason that an HBO documentary that gives space for two men who have accused Jackson to tell their story has been deleted from its streaming platform; you can’t watch it, because it might as well not exist.”
“This isn’t really a biopic,” Rolling Stone’s David Fear wrote in his review. “This is the Passion of St. Michael, rendered with great fidelity to and emphasis on both Jackson’s undeniable suffering and equally undeniable talent. Jaafar Jackson does bear an uncanny resemblance to his late uncle, and clearly knows how to replicate his signature moves, his physical fluidity, his beaming smile reserved for fans, animals, and hospital residents. But watching Michael’s greatest hits — the Motown 25 showstopper, the ‘Thriller’ video choreography, the gang-member summit turned dance rehearsal that begets ‘Beat It’ — reproduced with such stunning accuracy is, frankly, a little depressing. You’re reminded of the first time you heard Jackson’s music, and how overwhelming the hooks, the production, the chops, the sheer energy that characterized his live performances and videos earned him the title the King of Pop.”
Michael releases in theaters on Friday.
