Michael Biopic ‘Michael’ Sparks Debate Over Narrative Choices and Awards Prospects

Lionsgate’s biopic “Michael,” directed by Antoine Fuqua and written by John Logan, opened with a projected $85 million global debut. Jaafar Jackson, Michael’s nephew, leads as the pop star, with Colman Domingo as Joe Jackson. The story ends in 1988, featuring a “Bad” concert recreation and excludes the 1990s.

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The initial script planned to cover the 1993 allegations, but Jackson-estate attorneys, also producers, invoked a settlement clause with accuser Jordan Chandler that bars his depiction, forcing a rewrite that excised the third act. The final cut centers on the artist’s ascent, omitting later controversies.

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Rotten Tomatoes gives “Michael” a 38 % critic score versus a 96 % audience rating. Variety points out that biopics like “Elvis” (2022) and “Bohemian Rhapsody” (2018) earned Oscar nods despite mixed reviews. “Michael” mirrors this split, pairing low critic approval with strong fan backing.

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Industry observers cite Jaafar Jackson’s performance as an awards contender. Critics commend his vocal mimicry and physicality, while the supporting cast—Nia Long, Larenz Tate, Kendrick Sampson—elevates uneven material. A box-office run approaching “Bohemian Rhapsody’s” $910 million could boost its awards profile.

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Earlier music biopics faced similar cuts. Baz Luhrmann’s “Elvis” omitted Priscilla Presley’s early relationship yet earned eight Oscar nominations. “Bohemian Rhapsody” downplayed Freddie Mercury’s bisexuality while winning four Oscars. “Rocketman” left out later Elton John chapters but secured critical praise and a Best Original Song Oscar.

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Critics say the abrupt ending and omission of 1990s allegations weaken narrative tension, labeling it a “storytelling problem” rather than a moral lapse. Resurfaced accusations could sway voters. Reviewers also point to inconsistent makeup and flat pacing.

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• “Jaafar Jackson gets Michael’s tentative high sugary voice just right, but he also shows us how that famous personality evolves.” — Owen Gleiberman, Variety chief film critic

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• “The film ends in 1988, staging “Bad” as its creative crescendo (the best sequence in the film, by the way).” — Variety staff, Variety

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• “It’s that, in sidestepping those later chapters, it struggles to replace them with equally compelling narrative tension.” — Variety staff, Variety

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• “The gap between those sensibilities is where most biopics live.” — Variety staff, Variety

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The 38 % critic rating versus a 96 % audience score shows divergent expectations. Excluding post-1988 events creates a historical gap, with no confirmed sequel plans.

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“Michael” will be judged in the upcoming awards season, with possible Golden Globe and Oscar nods for acting. A sequel may be commissioned to address 1990s controversies if box-office results are strong.

Variety Magazine