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Michael (2026)


Michael is directed by Antoine Fuqua, known for Training Day and The Equalizer 2, and this film clearly carries his stylistic fingerprints. It aims to capture the life and legacy of Michael Jackson through a more personal lens, balancing spectacle with intimate character moments. While Fuqua brings a strong visual identity and some powerful sequences, the film struggles with pacing. The editing feels bloated at times, with certain stretches lingering longer than they should, which disrupts the overall flow.

Jaafar Jackson, making his debut and known primarily for being the nephew of Michael Jackson, takes on the monumental task of portraying his late uncle. He does an impressive job embodying both the physicality and presence, capturing the voice, movement, and charisma in a way that feels authentic rather than imitative. It is a performance that carries the film and makes it easy to stay invested even when the structure falters.

Colman Domingo, known for Rustin and Euphoria, plays Joe Jackson and fully commits to the role. He disappears into the character, leaning into the harsher, more antagonistic elements without holding back. His performance adds real tension and gives the film a clear emotional counterweight, standing out as one of the more compelling aspects of the story.

The editing department, much seemed handled by John Ottman, known for Bohemian Rhapsody, is where the film stumbles the most. There is a sense that the story could have benefited from a tighter cut, trimming down some of the excess to create a more focused narrative. As it stands, the film occasionally loses momentum despite its strong performances and direction.

Overall, Michael is a compelling biographical film elevated by a standout lead performance and strong supporting work. While it is weighed down by pacing issues, it still manages to leave a lasting impression thanks to its performances and direction. Michael shows flashes of greatness even if it doesn’t fully refine itself. Result: A- 

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