Antoine Fuqua’s biographical film about Michael Jackson, titled “Michael,” is a frustratingly superficial offering, heavily laden with every imaginable music-movie cliché. While the film touches upon various eccentricities of Jackson’s life, such as his famous pets, it conspicuously avoids addressing the significant “elephant in the room” – the controversies that defined much of his later life.
The movie unfolds like a protracted trailer, stringing together a montage of predictable tropes: the awe-struck producers in the recording studio, the iconic tour bus, the meteoric rise up the music charts, and the obligatory encounter with uninspired corporate executives. The narrative journeys from Jackson’s early days with the Jackson Five, under the oppressive influence of his belt-wielding father Joe, to his spectacular emergence as a uniquely original and universally beloved solo artist. The film culminates with his monumental 1988 Wembley Stadium concert, by which time he was 30 years old.
The film concludes with a perplexing on-screen message before the credits: “The story continues.” This leaves audiences questioning whether a sequel, potentially delving into darker aspects of his life, is planned. Reports suggest that producer Graham King and the Jackson family estate are indeed contemplating a “Michael 2.” If such a project materializes, a significantly different filmmaking approach will be required, moving away from this bland, polished, and corporate-driven hagiography. However, there’s no firm commitment to exploring these avenues, and it’s possible that all involved might opt to cease here, sidestepping further controversy, much like the stage production “MJ: The Musical.”