By Glenn Kay
For the Sun
Rating: +++
out of ++++
Running Time: 127 minutes
This feature from Lionsgate Films opens exclusively in cinemas and on IMAX screens on Friday, April 24.
A few years back, when the Warner Bros. adaptation of the book Dune opened in theaters, many were surprised to see the film come to an end only halfway through the story. The studio noted that, if the film performed well enough, the finale would soon follow (and of course, it did, as well as an upcoming third chapter set to arrive at the end of this year).
While one wouldn’t expect comparisons with that title, moviegoers should note that the new biopic Michael actually bears some similarity in its storytelling. This movie depicts the early life of the famed musician, as well as his rise to fame and stardom with the 1984 release Thriller (which now stands as the best-selling album of all time). And that’s about all it covers, with the more tumultuous/contentious sections of his life only promised in a potential follow-up.
The story begins in Indiana, with driven, physically abusive father Joe Jackson (Colman Domingo) pushing his five boys to become professional entertainers and rise above their current social status. Young son Michael (Juliano Krue Valdi) makes the grandest impression on those around him, bursting with natural talent and charisma. Signing with Motown Records, the Jackson 5 deliver hit single after hit single.
Unfortunately, Michael feels isolated, escaping into books like Peter Pan. Even as an adult, the whole family moves together to Los Angeles, with Michael (Jaafar Jackson) still under his controlling father’s thumb. Naturally, he wants to break free and become a solo artist. Along with the help of bodyguard Bill Bray (KeiLyn Durrel Jones), manager John Branca (Miles Teller) and other members of CBS Records, Michael realizes his vision and becomes the biggest artist in the world. But it leads to more tension between himself and dad Joe, who insists his youngest continue recording and touring with the Jackson 5.
Jaafar is the nephew of the late Michael and, as you might imagine, is absolutely perfect in the role. He looks and sounds identical to the real figure and it’s easy to forget that you aren’t watching Michael himself (Valdi, as the young iteration of the performer, is also exceptional in the first section of the movie). The film effectively establishes how cut-off the artist is from the rest of the world. Early on, he even notes that he can’t make friends because all other kids do is stare at him, leading him to develop some eccentric interests. There are also good moments with bodyguard Bray, who becomes something of a friend and attempts to advise Michael to move out and start a new chapter on his own.
The movie’s best moments, expectedly, involve the star’s music and the recording industry. There are some amusing behind-the-scenes interactions with record producers and executives, as well as entertaining depictions of the artist working to create a new image for himself with the development of a fresh sound, music videos and dance moves. There is even a memorable turn from Mike Myers as the CBS Records president trying to please the determined artist and get his videos on MTV. All these sequences work well. And it wouldn’t be a Michael Jackson biopic without concert footage. The recreations are energetically performed and exciting to watch.
As mentioned, it’s all polished and well-made, although one can’t help but note the surface-level treatment of the main character. We do get a sense that Michael is in a state of arrested development, but no one in the family ever refers to it, or that a man in his late 20s has seemingly no interest in socializing with women or, well, anyone at all. Perhaps it’s meant to be addressed in a follow-up film, but it should have been noted here. Beyond his musical ambitions and fear of his father, we never get a sense of the man’s inner life or feelings.
Another curious note is the lack of Janet Jackson. All of the other family members are featured, but Michael’s youngest sister (who grew up with him in Indiana) is nowhere to be seen in the story. The film also ends on an off-note, as Michael attempts to finally extract himself from his father’s control. It’s dealt with too abruptly, and the last act appears more focused on presenting dynamic live performances than the personal drama hinted at earlier in the story.
Fans of the “King of Pop” will certainly enjoy Michael. The music is top-notch, as are many of the moments involving the recording of several famous tracks. And the lead performance is fantastic too. But viewers should note that the screenplay doesn’t really give more than a surface level examination of its subject or deal in any way with, to use an idiom, “the elephant in the room.” It’s a good biopic, but unless a sequel arrives with more answers, this doesn’t seem like a definitive portrait of the remarkable artist.
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