Michael film review: Horribly poor taste
The problematic King Of Pop is given the smoothest of sheens in a biopic that cynically leaves open the possibility of a sequel
Sticking a glittery gloved middle finger up at the haters, this glossy, abbreviated and intermittently entertaining take on Michael Jackson’s story is finally upon us after an extended wait. Directed by Training Day’s Antoine Fuqua and penned by John Logan of Gladiator and Skyfall fame, this is a film that lists no less than six members of the Jackson clan as executive producers, and the result is exactly what you’d expect.
With Jackson played by Juliano Valdi as a kid and his nephew Jaafar Jackson as an adult, it takes us from his time as a child star fronting The Jackson 5, flanked by his increasingly irrelevant brothers, to his 1988 Bad album tour. The film focuses on the singer’s difficult relationship with dad Joe (played by Colman Domingo), on him striking out and finding stratospheric success as a solo star, and his brush with death during the filming of a 1984 Pepsi commercial.
While Joe’s famously smothering influence on the family is well-captured by Domingo (who has been made up to closely resemble him), Miles Teller has nothing interesting to do as Jackson’s manager John Branca; the same goes for those playing his brothers, who barely get a line, while Nia Long delivers an embarrassingly insipid take on the matriarch Katherine.
The filmmakers haven’t gotten to the most troubling parts of this tale yet, with Jackson portrayed as a saintly and unconcerning manchild, whether he’s bringing wild animals home or charming sick children, a depiction which will no doubt illicit unease given the severity of those allegations against him. It’s extremely cynical to present the singer’s story like this, lopping off the problematic parts for a sequel that may or may not emerge.
On the other hand, Michael is not quite the car crash it could have been. Jaafar Jackson has cinematic sparkle and real presence as a performer, despite the near total lack of dramatic challenges, while the actor’s resemblance to his uncle (enhanced by make-up and visual effects) lends the enterprise some credibility. It is, at points, infectiously enjoyable, with the choreographing of ‘Beat It’ and filming of the iconic ‘Thriller’ video engagingly recreated. But it’s hard not to feel like the whole thing is in horribly poor taste and primarily pitched at fans.
Michael is in cinemas from Wednesday 22 April.