Michael

The film Michael is a jarringly disjointed experience that feels less like a cohesive narrative and more like a series of world-class concert music videos bridged by amateurish interludes. While the production quality and electrifying performances are some of the best ever captured on screen, they exist in a vacuum, completely detached from the lackluster storytelling and wooden acting that fill the gaps. It is genuinely baffling how a film can oscillate so violently between technical brilliance in its musical sequences and total incompetence in its dramatic execution, leaving the viewer feeling as though they haven’t watched a movie so much as a high-budget playlist interrupted by a mediocre drama; yet, despite this identity crisis, I had one hell of a good time leaning into the sheer spectacle of it all.