Review: Michael (2026) – A crowd-pleasing celebration of the music, the myth, and the man fans came to see
In Michael, director Antoine Fuqua traces the rise of the King of Pop from his early days in Gary, Indiana and the formation of the Jackson 5 to the height of his solo superstardom during the Bad era. Written by John Logan, the film stars Jaafar Jackson as adult Michael and Juliano Krue Valdi as young Michael, alongside Colman Domingo, Nia Long, Miles Teller, Kat Graham, Laura Harrier, and Larenz Tate.
Let’s start with the standout, which is Jaafar Jackson. Michael’s nephew had impossible expectations walking into this role, and after years of training, he fully disappears into his uncle. The dance sequences are so sharp they feel almost unreal. Michael created the blueprint, but Jaafar executes it with the kind of precision that makes the performances thrilling to watch. For a first acting role, what he pulls off here is genuinely impressive and easily makes him one to watch.
Juliano Krue Valdi is equally strong as young Michael, especially considering he has less screen time. His Jackson 5 performance scenes are pure joy, but it’s the quieter moments after dealing with Joe that really land. He doesn’t feel overly polished or manufactured, which makes the performance hit even harder. The kid has real presence, and every time he’s on screen, you feel it.
Colman Domingo is commanding as Joe Jackson, playing him with a stern, calculating intensity that makes the character feel intimidating and believable. It is exactly the kind of layered performance you expect from Domingo, who brings weight to every scene he is in. Antoine Fuqua does a strong job balancing spectacle with story, and even when the film moves quickly, he keeps the emotional throughline intact.
The film has higher highs than lows, and the casting across the board is excellent. The recreation of Michael’s most iconic performances is where the film really comes alive, from “Billie Jean” at Motown 25: Yesterday, Today, Forever to the near shot-for-shot recreation of “Thriller.” Those moments are electric in a theater and even better with an audience. Some parts of the story do feel rushed, especially the transition from the Jackson 5 years into Michael stepping into adulthood and the creation of Off the Wall, but those are minor issues considering just how much ground the film is trying to cover. The roughest part is, unfortunately, the CGI work on Bubbles.
This film is for the lovers of the music, the ultimate fans, and a new generation that may walk away inspired by what Michael built. More than anything, it highlights the relentless work ethic behind the legend and the cost of becoming that famous that young. The film also makes space for Michael’s softer side, showing the generosity, philanthropy, and heart that made him just as compelling offstage as he was on it.
What is worth noting going in: Michael was made with the full cooperation of Michael Jackson’s estate, and the film stays focused on his rise through the end of the Bad World Tour in 1988. The allegations that defined much of the public conversation around Michael came later, beginning in 1993, and this film does not attempt to unpack those years. If you are looking for a full psychological portrait of a deeply complicated man, this is not that film. But if you are here for the music, the legacy, and the joy of watching one of the greatest entertainers to ever do it come to life on screen, Michael absolutely delivers.
Michael is now playing in theaters.
