“Michael” Sets Box-Office Record Amid Critical Backlash and Legal Constraints

Antoine Fuqua’s biopic *Michael* opened worldwide on a Wednesday, earning $97 million in North America and $217 million globally in its first weekend. The figures surpass the previous musical-biopic record held by *Straight Outta Compton* ($60 million domestic) and exceed the opening of *Bohemian Rhapsody* ($51 million domestic). The film also out-performed the $180 million opening of *Oppenheimer*, establishing the highest-grossing debut for any biopic.

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The success follows a decade of high-budget music biopics—including *Elvis*, *Bohemian Rhapsody*, *Rocketman* and *One Love*—that have become reliable box-office draws. Studios have treated such titles as tentpole events, banking on nostalgic performances of well-known hits rather than comprehensive biographies.

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*Michael* cost roughly $200 million to produce, a figure inflated by extensive reshoots after a settlement-related non-disclosure agreement forced the removal of a third-act storyline about 1993 abuse allegations. International markets contributed $120.4 million, with the United Kingdom, France, Mexico, Brazil and Italy among the top territories. IMAX accounted for $13.8 million of North American sales (?14 % of the domestic total). Lionsgate projects total worldwide earnings to exceed $700 million, positioning the film among the studio’s all-time highest-grossing releases.

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Lionsgate motion-picture chair Adam Fogelson emphasized the breadth of the audience: “You don’t deliver this number unless you’re seeing huge numbers across every conceivable demographic.” Senior ComScore analyst Paul Dergarabedian noted that “movie theaters are perfect for music-centric films, with incredible sound systems offering an experience that simply cannot be replicated at home.” Director Antoine Fuqua described the production challenges as “unique,” adding that the team “rethought everything” after the NDA resurfaced.

IndieWire

Aggregators show a stark divide: Rotten Tomatoes lists a 38 % critic score versus a 97 % audience rating. Critics such as those cited by *The Independent* argue the film “whitewashes” Jackson’s legacy by ending in 1988, before the emergence of abuse allegations. *TheWrap* and *Variety* note that reviewers label the narrative “sanitized” and “overly nostalgic,” questioning the omission of controversial chapters.

The Wrap

CinemaScore reported an A- grade, and PostTrak data indicate a 61 % female opening-weekend audience. Verified audience reviews on Rotten Tomatoes repeatedly praise Jaafar Jackson’s performance, the concert-style recreations of “Billie Jean,” “Thriller” and “Beat It,” and the communal energy of theater viewings. Viewers describe the film as “the closest thing to a Michael concert” and note emotional responses ranging from tears to repeated viewings.

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The critical-audience split highlights a gap between artistic assessment and fan satisfaction. Additionally, the film’s exclusion of any reference to the 1993 child-abuse lawsuit—mandated by a settlement clause—leaves a significant portion of Jackson’s public narrative unaddressed, a point repeatedly raised by critics and some audience members.

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• “But “the movie is playing as a feel good, nostalgic appreciation.” — David A. Gross, *FranchiseRe*

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• “All movies have different challenges, but this one was unique,” — Antoine Fuqua, director

BBC News

• “The fact that we’ve had success on such different types of movies has been incredibly gratifying,” — Adam Fogelson, Lionsgate

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• “But this project does the impossible: it strips away the spectacle and shows us the person. For the first time, we aren’t looking at the ‘THE KING’ — we’re looking at a human being.” — Questlove, Instagram

‘Michael’ Makes $217M Globally, Surpassing Biopic Box Office First Weekend Numbers

Lionsgate’s Adam Fogelson confirmed that the closing title card “His Story Continues” signals intent to develop a sequel, though the legal feasibility of depicting later controversies remains uncertain. Upcoming releases such as *The Devil Wears Prada 2*, *Mortal Kombat 2* and a *Star Wars* spinoff are slated to follow, while the *Michael* sequel script by John Logan is reportedly in early stages. The film’s performance suggests that, despite critical dissent, audience appetite for high-budget musical biopics remains robust.

Variety Magazine