Michael

Michael Jackson was unquestionably one of the most polarizing pop culture icons of the 20th and 21st centuries. On the one hand, he was brilliant and innovative with his approach to music. On the other hand, he was scrutinized and maligned for his personal life and odd behavior. Ardent fans supported Jackson through his trials and tribulations with the media, the allegations of child abuse, and other artistic or personal endeavors.

When he passed away in 2009, he left behind a grand, albeit checkered legacy, and that legacy is at the forefront of the new biopic Michael. Fans will probably embrace the movie despite some shortcomings, but they’ll have something to celebrate along the way.

The movie gives a straightforward, chronological look at the King of Pop, beginning with his steelworker father, Joe Jackson (Colman Domingo), assembling Michael and his older brothers into The Jackson 5. Joe puts the boys through intense and unforgiving rehearsals and he especially dominates Michael with an iron fist. The movie depicts the physical abuse Michael endured at the hands of his father, which had a profound emotional effect.

The brothers perform at gig after gig until they receive notoriety from Motown Records, which wants to sign them to a record deal. The family moves from Gary, Indiana, to Encino, California, but soon Motown thinks Michael might have more potential as a solo artist, which does not make their father very happy.

The adult Michael is played by Jackson’s own nephew Jaafar, and to say he looks and sounds like his uncle is selling it short. I don’t think it’s a stretch to say Jaafar observed Michael’s expressions and mannerisms to a point where, in the film, it’s difficult to determine where Jaafar ends and Michael begins.

Michael eventually breaks away from the family and signs with Epic Records, releasing his debut album Off the Wall, which cranks out hits such as “Don’t Stop Till You Get Enough.” The movie then transitions into the making of the Thriller album, where we get to see behind the scenes of the title track’s groundbreaking music video, as well as Michael composing “Beat It.”

As much as the movie centers on Jackson’s career for the first decade or so, the movie also gives some degree of insight into his turbulent relationship with his father, who is very much portrayed as manipulative and controlling, and wanting Michael to supposedly stay with the family unit rather than forging his own musical path. Domingo’s performance illuminates that delineation consistently throughout.

As for Jaafar, this is not stunt casting. He crafts a performance that honors his uncle not only in Michael’s look and sound but also with his dance moves and his supposed odd, childlike demeanor. Jaafar clearly studied Michael extensively in order to craft a portrayal that would prove he might have been the only one to play Michael.

The movie plays like a greatest-hits list rather than exploring any new avenues, which is expected when it commits to Biopic 101. Director Antoine Fuqua and screenwriter John Logan also want to honor Michael in his more iconic moments, but once again, they seem too charmed by his flashier moments and don’t probe other aspects, which ultimately makes it feel somewhat handcuffed. Still, fans will undoubtedly tell critics to “Beat It.”

Michael is a well-acted, well-crafted biopic made with style and energy. If only its treatment were met with as much fervor as its subject, we would’ve had a borderline masterpiece. Even as it is, it’s not “Bad.”