There was a lively discussion in the EBONY office this morning about Michael, Antoine Fuqua’s biopic that opened this past Friday. With a 27% score on Rotten Tomatoes, the Michael reviews have been harsh. But critics be damned—the box office is telling a completely different story. The film pulled in an estimated $217 million globally in its opening weekend, including $97 million domestically and $120.4 million internationally, marking the biggest global debut for a music biopic ever.
More importantly, it has people talking. About the music. About the memories. About the omissions—where was The Wiz? On a car ride this morning, “Don’t Stop ’til You Get Enough” came through the speakers, reminding us that his catalog is still a banger. EBONY had their own thoughts.
One producer admitted the film brought her to tears, reconnecting her to the music and drawing a personal parallel to Michael’s childhood. A VP wasn’t as moved by the story but loved the recreations of the Jacksons’ most iconic moments. And for another editor, it was simply about being in the room. “I didn’t go into it looking for anything other than a movie about Michael and the music, so I enjoyed it.”
For everyone, one thing was universal: the movie lingers in your mind, even if the critics felt differently.
Of course, Michael Jackson has always been a complicated figure. The film notably stops short of addressing the most difficult chapters of his life. That includes misconduct allegations, public scrutiny as a parent, and the medical tragedy that ultimately led to his death. That absence has become part of the conversation, too.
But many viewers, especially within the Black community, aren’t holding that against the film. They came for the music and memories. They came to witness Jaafar Jackson’s performance and the palpable compassion he pours into his portrayal of his uncle. In a recent interview with EBONY, he spoke about honoring Michael with care and intention, and that commitment shows on screen.
There is also a deep, undeniable appetite for stories about Black families: our brilliance, our fractures, our complexities, our joy. Audiences are responding not just to an icon, but to everything around him that shaped him. Figures like his father, Joe Jackson (played by Colman Domingo), whose discipline both built and bruised him, and to the strength Michael ultimately had to find his own voice.
It also shows that when Black stories are told on the big screen, our community shows up and out. We’re putting our dollars behind our icons and experiences, and Hollywood needs to respond and make more projects worth our investment.
While critics may debate what the film lacks, audiences are embracing what it gives: It’s a soundtrack for those who experienced their adolescence alongside the Jackson 5; a time capsule for those who wore out Michael’s vinyl and CDs, or were lucky enough to see him perform live; an entry point for a new generation discovering what music can be in the hands of a genius.
That connection is personal. And nothing can break it.
Michael is now playing in theaters.