Jackson’s influence on music, culture, and entertainment is immeasurable, and his story is one that continues to captivate audiences, even decades after his death. To make a movie about him is itself a crazy challenge to take on.

That challenge is exactly what Michael, the long-awaited biographical film starring Jaafar Jackson as his uncle, attempts to confront. Covering the years 1966 to 1984, with a brief epilogue set in 1988, the film focuses primarily on Michael’s rise from child star in The Jackson 5 to global solo phenomenon, while also centring his strained relationship with his father, Joe Jackson (Colman Domingo), and his growing tension between artistic freedom and family control.

We witness Michael’s stardom, performing at nightclubs, social gatherings, and late-night television with his brothers in The Jackson 5, to eventually becoming the powerhouse solo artist that he was and is, with albums most notably Off the Wall and Thriller. The movie also touches on the loneliness and isolation that accompanied Michael’s unparalleled fame.

But the heart of the film lies in its performances, particularly from Jaafar Jackson, who is a revelation. In his feature film debut, he delivers a performance that is, at times, uncanny. Maybe it runs through the Jackson family’s DNA.

He fully embodies Michael’s mannerisms, soft-spoken voice, and electrifying charisma. We’ve seen countless impersonators, but Jaafar’s commitment to bringing Michael’s essence to life is evident in every frame.

In some shots, the illusion is so effective that you briefly forget you’re watching an actor at all.

There’s a terrific sequence where Michael goes into a gritty L.A. club, with real gang-bangers, and draws the choreography for the “Beat It” video out of their moves.

Young Michael is portrayed by Juliano Valdi, who brings vulnerability and raw emotion to the role, particularly in the early The Jackson 5 years. Valdi captures the quiet intensity of a young boy who, despite his immense talent, is grappling with the weight of expectation and control. Their performances are, without question, the highlight of the film and deserve all the praise they’ve received.

The central issue with Michael is not what it includes, but how little it chooses to examine. Like many recent musical figures’ biopics, think Bohemian Rhapsody, Elvis, and Whitney Houston: I Wanna Dance with Somebody, Michael struggles with the same issue: a surface-level exploration of the person at its core.

What doesn’t work is the movie’s overly polished, frictionless storytelling, as the movie skims through the highlights. Michael challenges no one: medium shot after medium shot, over-cut and flatly covered.

The superficiality of the family dynamics and lack of any reflection on Michael Jackson’s internal pain and alleged misdeeds will almost certainly make it more profitable, and focusing on physicality and prosthetics is a good way to garner awards attention.

Michael was one of a kind, no matter how you feel about him. There are lots of interesting areas of his life that could be covered. The way all of these elements factor into each other makes him a deeply complicated, troubled, but fascinating person. And this movie depicts him as anything but.

There’s little exploration of Michael’s creative process, his musical inspirations, or his inner struggles. The film touches on his admiration for icons like James Brown, Charlie Chaplin, and Gene Kelly, as well as his deep fascination with Peter Pan, but these details feel more like superficial brushstrokes rather than deep explorations of what shaped Michael Jackson as an artist and individual.

As a result, Michael’s creative process remains frustratingly underdeveloped. We see the outcomes, but not the thinking behind them.

The same could be said for how the film portrays his father, Joe Jackson. While his domineering and abusive nature is evident, the film offers only a superficial look at his own weaknesses and insecurities. His character is shown as a harsh, unyielding force in Michael’s life, but it doesn’t go much further than that. The film touches on the impact of Joe’s control but doesn’t explore the layers that might have explained why he was the way he was. Domingo, unsurprisingly, manages to bring some shape to it. He’s one of the best working actors for a reason.

It’s understandable that the filmmakers would want to focus on the positive aspects of his life, but given that the film was delayed due to legal battles surrounding these issues, it feels like a missed opportunity to at least address them in some way.

But if you’re here to see Michael Jackson’s music come to life on screen and the magic of those unforgettable hits, the film delivers in spades.

I wish there were a version of the Michael biopic where it’s not just a sanitised portrayal of the King of Pop, but a true attempt to dive into his complexities and flaws, those very elements that made him such a fascinating and multi-dimensional figure.

But then again, maybe I’m completely missing the mark here.

Perhaps what fans are really looking for is a film that captures the feeling his music evokes: a sense of empowerment, excitement, and inspiration. And this film’s neat, tie-up-in-a-bow presentation, paired with his music on a big, loud sound system, will surely give fans an exhilarating two hours of pure escapism.

I personally find that approach really boring, considering who we’re dealing with here, but it’ll hit the sweet spot for a lot of people. It’s not a perfect film, but the performances, especially Jaafar’s, make it worth watching.

Same happened with me. I felt like the film was meh, but walked back from the theatre moonwalking.

The ending, with the title card “His Story Continues,” hints that a potential sequel could tackle these darker chapters, but it remains unclear whether that will ever come to pass.

Michael, when he was alive and now also, his legacy continues, as it overcame poor reviews and production issues to achieve record-breaking box office numbers. And the grandiose story that everyone is hoping for, about Michael Jackson and his legacy, will be told. Or maybe it will be deemed too risky to dramatise.

At the end of the day, Michael is pure fan service. At some point, you will stop watching the biopic and start enjoying the greatest hits montage.

You will surely have a great time at the cinema, even if it uses overarching biopic clichés, leaving too much unsaid.