Michael review (2026)
Despite a script that is frustrating due to both narrative choices and outside limitations, Michael still is a thrilling biopic exploring the early career of one of the most talented — and controversial —entertainers the world may ever experience in Michael Jackson.
There’s plenty to break down here, but on the far more positive side is the incendiary performance of Jaafar Jackson. Sure, Jaafar Jackson’s performance could lazily be attributed to his DNA — he’s the son of MJ’s brother, Jermaine — but The King of Pop has been one of the most often imitated and impersonated personalities ever. It’s easy for even an earnest take to quickly veer too far into caricature territory.
Jaafar Jackson captures the soft-spoken voice, the gentle off-stage mannerisms that ignite into a whirlwind dynamo when performing.
The choreography throughout Michael is impressive and Jaafar Jackson so perfectly mimics his uncle’s moves that it feels like being back in the 80s watching MTV for the first time. He is fantastic and delivers one of the best performances of an admittedly early 2026, but one that should resonate by the end of the year award nominations.
Director Antoine Fuqua, renowned for action films like Training Day, Tears of the Sun and The Equalizer trilogy, has no trouble capturing the beats of a music biopic.
Fuqua kicks off Michael with a signature shot — MJ makes the slow walk to an arena — before an extended flashback showing the early days of his musical career with his brothers, The Jackson 5.
In these sequences, Michael is played by Juliano Valdi, who brings such an endearing purity to his performance as the breakout star of his family band.
Fuqua established early on that for this film, the only needed antagonist is the patriarch of the Jackson family, Joe (Colman Domingo). Domingo’s performance as the cruel, taskmaster/bully insistent on his sons using their music as the tool to make something out of themselves instead of a remotely caring father is chilling.
It may not be remembered by award season, but his performance needs strong consideration for best supporting actor nomination.
Nia Long plays matriarch Katherine. Her role isn’t as showy, but Long gives Katherine a warmth as the safe space for Michael even as he ascends to the peak of worldwide fame.
Michael’s brothers, Jermaine, Tito, Jermaine and Marlon, are mostly background players who get the occasional funny line. Their importance to the film is twofold — to show that Michael deeply cared for them even as Joe used them as leverage to force him to stay part of The Jackson 5. This wasn’t the usual story of the band’s star seeking the spotlight and money for themselves.
Michael screenwriter John Logan (Skyfall) has the unenviable challenge of writing Jackson’s formative years without two of the most important people in his life — his younger sister, Janet, and one of his lifelong friends/mentors Diana Ross.
Ross’ absence, while noticeable given her role in introducing The Jackson 5 and getting him cast in The Wiz, could be chalked up to keeping the focus on Jackson.
Janet Jackson did not grant permission for her likeness to be included in the film, which was likely the case for older sister, Rebbie, as well. Given that Janet follows in her brother’s footsteps to become a megastar icon in her own right, her absence is glaring. Instead, all of the sisterly spotlight goes to LaToya, initially played by Amaya Mendoza and then by Jessica Sula. Their interaction is sparse beyond a conversation about nose jobs.
Logan largely keeps the exploration of Michael to a surface level as an entertainer who wants to take control of his own life. This sets up the film’s core Michael vs Joe conflict, but it doesn’t explore other relationships whether romantic or platonic such as with Brooke Shields.
His pet monkey, Bubbles, does get numerous scenes and others showing Michael having joy interacting with younger fans. Logan’s script suggests Jackson related easier to children since they didn’t have a secret agenda and his brothers were maturing and less interested in kid games. The less rosy, controversial aspects of his affection towards children aren’t addressed — at least in this chapter.
Lionsgate made the wise call to avoid trying to cram Jackson’s life into one two-hour movie. That allows more moments like his interaction with his attorney, John Branca (Miles Teller), and bodyguard/friend Bill Bray (KeiLyn Durrel Jones).
Despite the two-hour run time yet Fuqua probably could have devoted more time to Michael’s partnerships with Motown president Berry Gordy (Larenz Tate) and producer Quincy Jones (Kendrick Sampson). They’re not shortchanged for screen time, but these scenes show his creative process with two fellow masters of their trades and are highlights of the film.
Fuqua delivers in a major way on the musical numbers. makes sure they are some of the film’s most memorable moments. With stellar costume designs from Margie Rodgers and a dedicated hair and makeup team capturing Jackson’s various looks over the years. The concert scenes are magical and do an excellent job of conveying Jackson’s undeniable stage presence and the effect he has on his fans.
This sparkly kid gloves treatment of a creative wunderkind whose own demons don’t get explored in this chapter might be oft putting to some viewers, but for those who want to see the pop icon’s electric early years they likely won’t want it to stop. They won’t get it enough by the time the credits begin.
Rating: 8.5 stars out of 10
Photo Credit: Lionsgate
After watching Michael, check out his landmark record-breaking album, Thriller, on Amazon.
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