Michael, the return of the King
The biopic about the greatest pop artist of all time begins in the 1960s, then moves through the 1970s and into the roaring 1980s. It all starts with the Jackson 5 and the turbulent relationship Michael Jackson had with his father: despite loving his brothers deeply, the future King of Pop felt trapped, unable to fully unleash his talent and creativity. He chooses his freedom and decides to embark on a solo career, accompanied by people who would prove essential to his global success, including the renowned producer Quincy Jones.
1982 would become the turning point in Michael Jackson’s career. The year in which the icon becomes a myth; the singer, an absolute deity; music, a collective and unifying voice-body ritual. It is the year of Thriller, the greatest creation in contemporary music history: the song, the album, the music video, cinema, and performance merge, blend, and transform into the cultural phenomenon we all know. Michael Jackson’s success spreads into even the smallest capillaries of society, revolutionizing the history of marketing and media communication as well.
Amid successes and personal traumas - the already mentioned conflict with his father and later the tragic accident during a Pepsi commercial that marked him for life - the film closes in 1988 during the Bad World Tour, Michael Jackson’s first solo world tour, at the height of his success. A hand with the iconic bandaged fingers covers the King’s face, as he hints at a slight smile. Fade to black and “his story continues.”
A flop with critics, an unprecedented triumph with audiences
According to data reported by the international press, the film has so far recorded:
- 97 million dollars in the United States during its opening weekend;
- 120.4 million dollars in international markets;
- Over 217 million dollars in total within its first days of release.
These figures represent the best debut ever for a musical biopic and one of the strongest global openings of 2026, surpassing the 122 million dollar record held by Bohemian Rhapsody (2018) about the life of Freddie Mercury and Queen. But the most interesting and curious figure is undoubtedly the stark contrast between critical judgment and audience response: about 38% positive reviews from critics versus an explosive 97% audience approval. Michael thus becomes the most appreciated musical biopic ever.
The film was released in Italy on April 22, 2026 and, although data are not yet fully confirmed, it has also shown a very solid debut nationally: over 6 million euros in just 4 days. Slightly below the opening of Bohemian Rhapsody, but still among the best recent musical debuts in the Italian market. Despite the criticism, audiences in Italy are responding very positively.
With a production budget of around 155 million dollars, Michael has already covered its costs in its first days of release; however, for a film to be considered a success, it must at least double its budget. Given the initial figures, though, reaching the break-even point (estimated here between 400 and 500 million dollars) should not be difficult. The film has already been released in most Western markets but has yet to arrive in some key territories, foremost among them Japan: one of Michael Jackson’s strongest markets, where he is culturally beloved and has a very strong fanbase.
According to the latest estimates, Michael is already on track for clear commercial success and should reach 600–800 million dollars globally without too much difficulty; for some, there is even a concrete possibility of surpassing the 910 million of Bohemian Rhapsody. In this sense, the hypothesis of a second part of the film is becoming increasingly real, and the production has already begun discussing it more openly: the idea would be to portray the most controversial and delicate phase of Jackson’s life, that of the accusations and legal cases (which have not yet been addressed for legal reasons).
Rediscovery and nostalgia effect: Michael returns to the top of the charts
Unsurprisingly, the film is generating a massive rebound on major music platforms, especially Spotify. Whether out of nostalgia, rediscovery, or the desire to continue experiencing the emotions sparked during the theatrical viewing, Michael Jackson has seen a significant surge in streams. Following the path of Queen with Bohemian Rhapsody and the King of Rock ’n’ Roll with Elvis, classic tracks like Billie Jean, Thriller, and Beat It have returned to global charts.
The dualism between cinema and music, between audiences and streams, remains a cultural phenomenon typical of musical biopics; but with Michael Jackson, everything seems amplified: the global icon of the King of Pop, now as then; the film’s strong media exposure; the choice of casting a member of the Jackson family (Jaafar, his nephew, delivers a superb and emotional performance); and younger audiences discovering or reliving a celebrity also through social media (videos of dancers - professional or otherwise - going viral as they perform to his most famous songs, embodying a performer who profoundly shaped society).
A film not for critics, but for all of us
Ultimately, the Michael phenomenon tells a story that goes beyond cinema and even beyond the already immense figure of Michael Jackson. It reveals an increasingly evident fracture between critical judgment and audience response: harsh reviews speaking of a sanitized operation, an incomplete narrative, a mere concession to fans. This “ridiculous inferno,” as an article in Il Fatto Quotidiano aptly puts it, has not overshadowed the other side of the coin: full theaters, enthusiasm, and an emotional involvement that no negative review seems able to diminish.
This difference is not just a matter of taste, but of the very function of the work itself. Critics evaluate the film for what is missing: the darker areas, the contradictions, the unresolved complexity of a man. Audiences, on the other hand, seem to seek - and find - something else: a reconnection with the myth, one that belongs to multiple generations. In this sense, Michael works less as a biography and more as a collective ritual, a celebration that reactivates a shared and untouchable imagination. It is no coincidence that, while critics debate, Jackson’s songs return to the top of charts and playlists worldwide: that is where audiences recognize the truth they are looking for.
Beyond the controversies, omissions, and simplifications, the film brings back to the center a powerful idea, almost naïve in its purity: that of music capable of uniting. Music “for Black and white people,” as Jackson himself says in the film, but above all music conceived as a universal language, a tool of empathy, an ethical project. It is the same vision that ran through his songs, music videos, and performances: the idea that art could be a vehicle for peace, healing, and mutual respect. Michael is a powerful film, like his music, and today more than ever, it is a necessary one.
Andrea Pelucchi