By: Lana K. Wilson-Combs
FROM GARY TO GREATNESS: "MICHAEL" IS A SOUL-STIRRING TRIBUTE THAT DANCES BEYOND EXPECTATION
The new biopic
"Michael" from director/executive producer
Antoine Fuqua ("The Equalizer 3," "Troublemaker: The Story Behind the Mandela Tapes") isn't good. It's sensational. It's fantastic, and absolutely remarkable.
This is the movie for every little girl who had "Right On!" pictures and posters plastered on her bedroom walls. It's for every kid who couldn't wait for Saturday morning to watch The Jackson 5ive cartoon series, and the young boys who tried to rock an afro like Michael and Jermaine.
It's also for the diehard fans who know every single word of "Sugar Daddy" and the B-side to the group's debut hit single, "I Want You Back."
But perhaps most of all, what Fuqua, screenwriter
John Logan, ("You Should Be Dancing") and Oscar-winning co-producer
Graham King ("Bohemian Rhapsody") have crafted here is a brilliant and dazzling celebratory tribute to
Michael Jackson and the
Jackson 5.
From their halcyon days growing up in the gritty, blue-collar Gary, Ind. under their nurturing mother Katherine (played wonderfully by Nia Long, "You People") and the ever-watchful, stern hand of their father Joseph (a dynamic Colman Domingo, "Wicked: For Good," "Dead Man's Wire" and TV's "Euphoria"), to the brothers' exciting, painful, and often exhausting journey to superstardom, the film pulses with life and reverence.
Does "Michael" omit and play loosey-goosey with timelines and details? Yes, it does. I have yet to see a biopic that hasn't. Don't even get me started on "Elvis."
And for those hankering to see Michael's demons and darker side fully revealed, you won't find it here. The film wisely focuses on a defined era, closing around his "Bad" album and tour. Real-life legal complications and family sensitivities likely shaped that decision, and frankly, it works.
This is not a tabloid expose, it's a celebration. There's even talk of a possible continuation, and based on what's here, that's a prospect worth anticipating.
Honestly, I would have liked "Michael" to go deeper into certain family dynamics and to include Randy and Janet Jackson in the mix. At least La Toya made it. She's played by Jessica Sula (TV's "Panic").
Still, the film shines brightly as a soul-stirring musical escapade. It kicks off during the 1960s with the hardworking Jackson boys, including standout young performances from Jayden Harville (Jermaine), Jaylen Lyndon Hunter (Marlon), Judah Edwards (TV's "Saint X" as Tito), and TV's "All American's Nathaniel Logan McIntyre (Jackie).
At the center is young Michael, played with astonishing charm and emotional precision by
Juliano Krue Valdi, ("Arco") who brings both innocence and intensity to a role that demands more than mimicry, it demands truth.
And then there is
Jaafar Jackson. The son of
Jermaine Jackson doesn't just imitate his uncle, he channels him. This is not an impression; it's an embodiment. From physicality to the voice, from the quiet vulnerability to the explosive stage presence, Jaafar disappears into the role of Michael in a way that feels almost uncanny. It's a star-making performance, one that anchors the film with emotional authenticity and electrifying charisma. Simply put, it's arguably one of the most convincing portrayals of a music icon ever put on screen.
What elevates "Michael" even further is its immersive exploration of the music and the moments that shaped it. The recreation of the infamous Pepsi commercial filming accident, where Michael's hair caught fire, is handled with both tension and sensitivity.
"Michael" also gives us fascinating glimpses into the creative genesis of "Beat It" and the cultural phenomenon that became "Thriller."
There's even room for Michael's softer side, his love of animals (yes, Bubbles appears) and his quiet joys, like watching Fred Astaire films and laughing at "The Three Stooges" TV show with his mother. These touches humanize a figure so often mythologized.
The film also highlights the figures who helped shape Michael's trajectory. Berry Gordy (a terrific Larenz Tate, TV's "Power Book II: Ghost") and Suzanne de Passe (an excellent Laura Harrier, TV's "Doctor Odyssey") emerge as pivotal influences during the Motown years, while Kendrick Sampson ("Killing Castro") as Quincy Jones plays a crucial role in Michael's evolution as an artist during "Off the Wall."
The hostility with Joseph Jackson is given added weight as Michael seeks independence, culminating in a pivotal moment when he hires attorney John Branca (Miles Teller, "Top Gun: Maverick") and takes control of his career. These scenes underscore a powerful coming-of-age narrative, not just of a performer, but of a man claiming his identity.
One of the movie's most riveting sequences involves Michael and Branca confronting CBS Records president Walter Yetnikoff who is played to scene-stealing perfection by Mike Myers ("Shrek 5"). They demand that MTV air Michael's videos at a time when Black artists were excluded. It's a moment of cultural defiance and triumph, capturing the stakes of Michael's influence beyond music.
Equally compelling, though quieter, is the presence of Michael's bodyguard and chauffeur Bill Bray (KeiLyn Durrel Jones, TV's "Succession"). His bond with Michael adds a layer of loyalty and emotional grounding that resonates deeply.
In the end, "Michael" doesn't just tell a story, it invites you to feel it, to remember, and to celebrate. It pushes back against the noise and reminds us why Michael Jackson mattered and still does.
Some may debate the movie's choices, but audiences willing to embrace its heart will find something truly special here.
This is more than a biopic. It's a cinematic love letter, confident in its vision and unforgettable in its execution. Shamone.
Editor's Note: Be sure to catch my N2Entertainment.net movie talk segment on the Kitty O'Neal Show Fridays at 5:17 p.m. and 6:47 p.m. on radio station KFBK 93.1 FM and 1530 AM.
Check Out This Trailer For
"MICHAEL"
Lana K. Wilson-Combs is a member of the Broadcast Film Critics Association (BFCA), The American Film Institute (AFI), and a Nominating Committee Voting Member for the NAACP Image Awards.
