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Michael Jackson Biopic 'Michael' Opens in UK Cinemas to Mixed Reviews

The Michael Jackson biopic 'Michael', starring the pop star's nephew Jaafar Jackson, opened in UK and Irish cinemas on Wednesday to mixed reviews, with critics praising its musical sequences but condemning the film for avoiding the controversies of Jackson's life. Despite the critical reception, the $200 million production is expected to perform strongly at the box office.

Conor BrennanWednesday, 22 April 202617 views
Michael Jackson Biopic 'Michael' Opens in UK Cinemas to Mixed Reviews

Michael Jackson Biopic 'Michael' Opens in UK Cinemas to Mixed Reviews

The Michael Jackson biopic 'Michael', starring the pop star's nephew Jaafar Jackson, opened in UK and Irish cinemas on Wednesday to mixed reviews, with critics praising its musical sequences but condemning the film for avoiding the controversies of Jackson's life. Despite the critical reception, the $200 million production is expected to perform strongly at the box office.

Directed by Antoine Fuqua and written by John Logan, the film is a collaboration between Lionsgate, GK Films, and Optimum Productions. Alongside Jaafar Jackson in the lead role, the cast includes Colman Domingo as Joe Jackson, Nia Long as Katherine Jackson, and Miles Teller as John Branca, Jackson's longtime attorney and co-executor of his estate.

Background

The project has been in development for years, with Jaafar Jackson's casting announced in January 2023 following a two-year search. His grandmother, Katherine Jackson, publicly endorsed the choice, stating that her grandson "embodies" her son. To prepare for the role, Jaafar underwent extensive training — hours of singing and dancing rehearsals to replicate his uncle's iconic stage presence. The film blends Jaafar's vocals with Michael's original recordings, though Jaafar performs solo in scenes depicting studio sessions.

The music biopic genre has experienced a major commercial resurgence in recent years, with films such as Bohemian Rhapsody and Elvis proving enormously lucrative. These productions typically benefit from a built-in audience and awards potential, but they are also frequently criticised for presenting sanitised versions of their subjects' lives — often as a direct consequence of the artists' estates being involved in the production. Michael is a textbook example of this dynamic.

The film ends with the beginning of the Bad tour in 1988, before the first public allegations of child sexual abuse were made against Jackson. The decision to exclude this part of his life story was reportedly necessitated by a legal settlement with one of the accusers that prohibited any mention of them in a film, leading to extensive rewrites and reshoots.

Key Developments

Critical reception has been sharply divided. The film holds a 38% score on Rotten Tomatoes, with reviewers criticising the narrative as "sanitised" and accusing the production of hagiography. However, audience reception has been overwhelmingly positive, with a 97% audience score on the same platform and an A- CinemaScore — a striking divergence that reflects the enduring loyalty of Jackson's global fanbase.

Commercially, the film has been a phenomenon. It grossed just under $100 million domestically and over $215 million worldwide in its opening weekend, setting a new record for the biggest box-office debut for a biopic. UK and Irish audiences have contributed significantly to that total, with cinemas reporting strong advance bookings and sold-out screenings in major cities.

The film has not been without controversy beyond the critical reviews. Michael Jackson's daughter, Paris Jackson, publicly criticised the production, calling it "sugar-coated" and inaccurate. Several of Jackson's siblings, including Janet and Randy Jackson, are absent from the film, and scenes featuring Diana Ross were reportedly cut during post-production.

Why It Matters

The Michael biopic crystallises a tension that runs through the entire music biopic genre: the conflict between commercial imperatives and historical honesty. When an artist's estate controls the narrative, the result is inevitably a curated version of a life — one that celebrates the genius while eliding the complexity. For audiences, this raises a genuine question about what they are actually watching: a biography or a brand exercise. The film's extraordinary commercial success suggests that many viewers are content with the former, but the critical backlash indicates that the appetite for a more complete reckoning with Jackson's legacy has not gone away.

Local Impact

For cinema-goers across the UK and Ireland, Michael is the biggest entertainment event of the spring season. Multiplexes from Belfast to Birmingham have reported strong footfall, and the film is expected to dominate the box office for several weeks. In Northern Ireland, where Jackson's music has always had a devoted following, the film's arrival has been met with considerable excitement — even if some fans have expressed disappointment at the decision to sidestep the more difficult chapters of his story. The debate about how to remember Jackson — as an unparalleled musical genius or as a more complicated figure — is one that shows no sign of resolution.

What's Next

With its record-breaking opening weekend, Michael is set to become one of the highest-grossing biopics of all time. Awards season speculation has already begun, with Jaafar Jackson widely tipped for recognition for his performance. Whether the film's commercial success will prompt a reassessment of its critical reception remains to be seen. For more on the film and its reception, see the film's Wikipedia page and The Guardian's coverage.

Conor Brennan

Senior Editor

Conor Brennan is a Belfast-based journalist with over a decade of experience covering politics, business, and current affairs across the UK and Ireland. He specialises in making complex stories accessible and relevant to everyday readers.

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