The first thing that stays with you after watching Michael is not a scene or a song, but a presence that feels alive on screen. Jaafar Jackson steps in as Michael Jackson popularly known as MJ, and from that very moment, the film finds its pulse. For a brief second, you forget you are watching an actor. It feels like Michael has stepped back into the room. It is not just about resemblance. It is the energy he brings that makes all the difference. There is a certain electricity in the way he performs, especially in the dance sequences. The sharpness, the flow, the control, and then that effortless glide that defined Michael. The way he holds himself, the slight tilt of the head, the ease in his walk, all of it feels natural, never forced. That familiar rhythm the world once tried to copy in living rooms and school stages comes alive again.
Jaafar does not overplay it. He lets the performance breathe, and that is what makes it convincing. At several points, you stop watching an actor and start seeing Michael again. It feels charged, almost as if the stage belongs to him in the same way it once did to Michael. By the time the film moves forward, you are no longer judging the performance. You are simply watching Michael Jackson.
Then the story gently takes you back to where it all began. Juliano Krue Valdi appears as young Michael Jackson, and there is an immediate softness to his presence. It brings a smile without trying too hard. You see a child who already knows how to perform, already carrying a gift that feels far too big for his age. The early moments with The Jackson 5 are simple yet telling. This was not just a family singing together. This was the beginning of something that would soon take over the world.
But even in those early days, the film quietly shows that Michael’s life was never quite like anyone else’s. While others had playgrounds and school friends, he had a stage and an audience. His loneliness comes through in small, almost passing moments. He finds comfort in animals, not as pets but as companions. Bubbles the chimpanzee, along with other unusual animals, feels less like an eccentric choice and more like a need to belong somewhere. When he speaks about children his own age, there is a sadness that lingers. They see him, but not really. To them he is a moment, a photograph, not a person.
As the story moves ahead, one relationship begins to cast a long shadow. Joseph Jackson, his father, is shown as a dominating force, the only character who consistently brings a harsh edge into Michael’s world. The film does not turn him into a villain in loud ways, but his presence is heavy enough to explain a lot of Michael’s silence and distance. In contrast, there is a quiet comfort in the way Michael leans on his body guard Bill Bray. Their bond feels real and unspoken, like a space where Michael could finally just be himself without expectation.
The film does not try to cover everything, and that is clear. It moves through selected chapters. The rise of the Jackson 5, the overwhelming fame, the emotional distance from his father, and the build up to the Victory Tour. It feels less like a full biography and more like a collection of memories stitched together. For fans, this works. It feels familiar, almost personal. For others, it might feel like parts of the story are missing.
There is also a conscious silence around the more controversial aspects of his life. The film chooses not to go there. It stays focused on the artist, the performer, and the man behind the music. Some may find that incomplete, but from a fan’s point of view, it feels intentional. This is not about questioning him. It is about remembering why he mattered.
And maybe that is where the film finds its true voice. It reminds you of a time when music videos were events, when dance moves became a global language, when one performer could change how the world saw entertainment. It brings back memories of watching iconic videos like Thriller and trying to match those moves, feeling that same excitement all over again without the film having to spell it out.
By the time the film reaches its final moments and closes with the performance of “Bad,” it feels right. It does not end with answers or conclusions. It ends on stage, where Michael always belonged.
In the end, this is not a film that tries to tell you everything about Michael Jackson. It simply lets you feel him again, for a brief while. And sometimes, that is enough.
Movie: Michael
Directed by: Antoine Fuqua
Written by: John Logan
Featuring: Jaafar Jackson, Nia Long, Laura Harrier, Juliano Krue Valdi, Miles Teller, Colman Domingo, KeiLyn Durrel Jones,
Music by: Lior Rosner
Theatrical Release Date: April 24, 2026
Run Time: 2hrs 7mins
Michael
3.5