The seeming backlash that has trailed the newly released biopic Michael, is not one that Training Day and Equalizer director, Antoine Fuqua and his crew would take likely.
This new movie based on the life of Michael Jackson, is facing a wave of criticism from film reviewers who argue that the production presents a carefully polished version of the singer’s life while avoiding its most controversial chapters.
The film stars Jaafar Jackson, who steps into the role of the “King of Pop,” charting his rise from a child star with the Jackson 5 to global superstardom. Packed with musical performances and familiar milestones, the film leans heavily on nostalgia and Jackson’s enduring catalogue.
However, critics say what the film includes is far less contentious than what it leaves out. Central to the backlash is its omission of the long-standing sexual abuse allegations that shadowed Jackson’s later years. Reports suggest that references to these controversies were removed following a non-disclosure agreement tied to the project, raising questions about editorial independence.
Reviewers have been unsparing. The Hollywood Reporter noted that the film will likely satisfy devoted fans, particularly through its use of original vocals, but others were less forgiving. The Telegraph criticised the film for ignoring what it described as “the elephant in the room.”
Among the harshest critiques came from Clarisse Loughrey, who awarded the film one star and labelled it a “ghoulish, soulless cash grab,” arguing that it prioritises spectacle over substance. Similarly, Kevin Maher described it as a troubling turning point for the music biopic genre one that risks sacrificing truth for market appeal.
Backed by Jackson’s estate, Michael follows a formula that has proven commercially successful in recent years, as audiences flock to biopics of legendary artists. Films centred on figures like Freddie Mercury, Elton John, Bob Dylan, Aretha Franklin, Elvis Presley, Bruce Springsteen, Bob Marley, Amy Winehouse, Robbie Williams and Whitney Houston have dominated cinemas, blending storytelling with musical nostalgia.
Yet, Michael has reignited a deeper debate: are modern biopics becoming meaningful explorations of complex lives, or are they increasingly turning into glossy tributes shaped by those with a stake in the narrative?
For now, the film’s reception suggests that audiences and critics are beginning to demand more than just the music.
