Michael Jackson Biopic Sparks Outrage, Critics Slam ‘Offensive’ Portrayal

Michael Jackson Biopic Sparks Fierce Criticism

The new Michael Jackson biopic, “Michael,” has ignited strong reactions from film critics, with many calling the movie deeply offensive for its portrayal of the pop icon. Reviewers argue the film ignores serious allegations against Jackson, instead presenting a sanitized and almost divine image of the singer. This has led to widespread disappointment and frustration among critics who believe the movie fails to grapple with the complexities of Jackson’s life and legacy.

Kevin Maher, chief film critic for The Times, expressed extreme dissatisfaction, stating the film made him feel depressed and question the point of Western culture. “I don’t want to go to films.

I want to dig a hole in the woods and just lie in the ground because people are stupid and people are venal,” Maher said in a recent discussion. He criticized the movie for denying Jackson’s alleged wrongdoings and instead turning him into a figure of worship, calling it “pop Jesus.”

A Sanitized and ‘Sugar-Coated’ Narrative

Lishka Ivan, chief film critic at Metro, echoed these sentiments, describing the film as a “baffling exercise.” She noted that the movie ends in 1988 with The Bad Tour, a choice that contributes to its highly sanitized nature, especially given its 12A certificate, making it suitable for younger audiences. Ivan feels the film traps itself in a bubble, focusing on the 1980s before the more troubling aspects of Jackson’s life emerged.

“It’s like the Michael Jackson was in that era of the 80s before all of the kind of horrible truths about him came out,” Ivan explained. She believes the film is an “escape hatch” for fans who wish to remember Jackson solely for his music and early career, omitting any discussion of the serious allegations that later surfaced. Even Michael Jackson’s daughter, Paris Jackson, has reportedly called the film a “sugar-coated fantasy” for fans, suggesting a lack of full family endorsement.

Marketing and Audience Reception

The film’s marketing campaign, spearheaded by Universal, appears to capitalize on a perceived public willingness to overlook Jackson’s controversies. Maher suggested this strategy relies on the idea that “the world is full of idiots” who will accept the film’s narrative without question. Despite many reviews giving the film low ratings, the audience response has been enthusiastic, with viewers reportedly cheering during screenings.

The trailer for “Michael” garnered over 116 million views, surpassing even the trailer for Taylor Swift’s Eras Tour. This massive interest suggests the film is poised for significant commercial success, potentially reaching a billion dollars at the box office. This commercial appeal, critics argue, highlights a disconnect between public fascination and critical concerns about journalistic and artistic responsibility.

Missed Opportunities for Deeper Storytelling

Critics like Maher lamented the film’s avoidance of Jackson’s controversial aspects, suggesting that addressing these issues could have resulted in a more compelling and interesting movie. “It would be really interesting,” Maher stated, imagining a version of the film that did not shy away from the allegations. He pointed to producer Graham King’s earlier statements about humanizing Michael Jackson’s story without whitewashing it, contrasting this with the final product.

Maher felt the film took an extreme opposite approach, akin to “flooding the zone with nonsense” when faced with difficult truths. He suggested filmmakers like Jordan Peele, known for tackling complex social issues in films like “Get Out,” could have brought a more nuanced perspective to Jackson’s story. The consensus among critics is that the biopic missed a significant opportunity to explore the full, complicated truth of Michael Jackson’s life.

‘Mother Mary’: A Divisive Pop Star Drama

The discussion also turned to “Mother Mary,” a drama starring Anne Hathaway as a global pop icon named Mother Mary, often compared to Madonna and Lady Gaga. The film explores her reunion with a former best friend and collaborator, played by Michaela Coel. The first half focuses on their complex relationship, digging into their past conflicts and artistic struggles.

However, the film takes a sharp turn in its second half, descending into more surreal and bizarre territory. Ivan described this shift as going into a “Red Shoes and Suspiria Zone,” involving strange imagery like Anne Hathaway being chased by “red ectoplasm.” While acknowledging the performances of Hathaway and Coel, Ivan found the film to be a “film of two halves” where neither part fully resonated or conveyed a clear message.

Artistic Ambition and Critic Appreciation

Kevin Maher, however, expressed a different view, stating his love for director David Lowry and appreciating the film’s existence despite its flaws. He compared his feeling to Quentin Tarantino’s admiration for the existence of films like “Chungking Express,” even if not fully loved. Maher found elements to “cling to” in “Mother Mary,” particularly praising Anne Hathaway’s performance as a diva, which he felt was well-supported by extensive preparation.

The film features songs by notable artists like Charlie XCX and FKA Twigs, contributing catchy music that Maher enjoyed. He also commended Michaela Coel’s performance. Despite acknowledging the film can be “confusing” and “a tiny bit pretentious,” Maher found value in its artistic ambition and the exploration of creative identity, which director David Lowry stated was inspired by the universal question: “What am I doing creatively right now?”

‘Rose of Nevada’: A Time-Traveling Cornish Tale

The final film discussed was “Rose of Nevada,” by Cornish filmmaker Mark Jenkin, known for his distinctive lo-fi aesthetic. Jenkin, who writes, shoots, edits, and even develops his own film stock, creates films that often feel like rediscovered artifacts. His previous work, “Bait,” explored themes of Cornish identity and the impact of tourism.

“Rose of Nevada” follows two characters, played by Callum Turner and George MacKay, who embark on a fishing trip on a trawler. The film incorporates a time-travel element, with the characters returning three days later to find themselves in August 1993. Maher described it as a low-budget take on “Back to the Future” set on a boat, featuring “lovely moments” and “great ideas” that create a dreamlike viewing experience.

Exploring Identity and Place

Jenkin’s work consistently grapples with significant questions about English and Cornish identity, and the changing sense of place. “Rose of Nevada” continues this exploration, offering a unique and ambitious narrative. The film’s distinctive visual style, with its distressed look and dreamlike quality, adds to its beguiling nature, making it a noteworthy entry from an emerging filmmaker with a strong personal vision.

The film’s blend of genre elements and introspective themes marks Jenkin as a filmmaker to watch. His commitment to a hands-on, artistic process results in films that are both technically unique and thematically rich, offering a different kind of cinematic experience compared to mainstream productions.

Source: Michael Jackson Biopic Made Me Want To Bury Myself In The Woods | Kevin Maher (YouTube)