Antoine Fuqua’s Michael is a safe and sanitized crowd-pleasing jukebox biopic elevated enormously by the pitch-perfect casting of Jaafar Jackson. Yep, they genuinely hit the jackpot with him. You see, Jaafar channels Michael by capturing the voice, the physicality, and the signature movements with almost mathematical precision. It’s remarkable to behold, especially when he steps onstage. And while the vocals are a blend of his own and archival Michael recordings, the stage presence is undeniably his - essential for portraying someone long dubbed “the world’s greatest entertainer.” The supporting cast also brings their A-game. Coleman Domingo, in particular, makes for a sharp and prickly Jackson patriarch - equal parts intimidating and compelling. But despite the strength of the performances, the film rarely offers genuine insight into any of these people. Even Michael himself feels more like a hologram than a fully examined human being. Sadly, the movie opts for surface-level gloss over introspection at nearly every turn. Then there’s the matter of factuality. Did the events really unfold the way the film suggests? Not exactly. But this is hardly unique. What’s more controversial are the ongoing conversations about the film sanitizing or outright sidestepping the scandals and controversies that have defined much of Michael’s public narrative. To be fair, the timeline in the film ends in the late ’80s - before the major allegations and dramatic physical changes. The reason for stopping there is left for the audience to infer. But, what is included is remarkably frictionless. Yes, there’s the father-son feud, and yes, the story is largely about Michael’s attempts to break free from Joe Jackson’s control. But within that narrative, Michael is portrayed with near-saintly reverence. He has no real flaws, and even the eccentricities -like the pet monkey and llama - are framed with a kind of “classic Michael” shrug. The film consistently avoids the most complicated, most fascinating chapters of his life - the very things people are most curious about. Of course, with the Jackson estate fully involved, the portrayal was always going to follow a certain script. They clearly aimed to present Michael the way they want him remembered. And if the mission was to showcase the music above all else, then it mostly succeeds. The musical set pieces are electric, nostalgic, and undeniably entertaining - they carry the movie far more than the screenplay does. It’s just a shame that between all the moonwalks and glitter gloves, the film never takes us any deeper. The spectacle is there. The icon is there. But the person behind it all remains as elusive as ever.