A Record-Breaking Biopic That Feels More Like a Concert
Michael, the new Michael Jackson biopic fronted by his nephew Jaafar Jackson, has arrived as both commercial juggernaut and cultural flashpoint. The film scored the largest ever box office opening for a music biopic and has already taken in USD 217 million (approx. RM1.03 billion) worldwide, even as reviews hover in lukewarm territory with a 38% Rotten Tomatoes score. Packed with Jackson’s biggest hits, the movie was created with heavy family involvement: his son Prince Jackson served as an executive producer and has described seeing Jaafar in full hair and makeup as an “emotional shock” that briefly made him feel his father was in the room again. For many admirers, this intimacy gives Michael the feeling of a family-sanctioned tribute concert projected onto a cinema screen rather than a detached, critical portrait of a controversial icon.
Cinema Dance Trend: Best Night Out or Worst Audience Etiquette?
Because Michael leans so heavily on Jackson’s catalogue, some screenings have morphed into mini dance parties. Videos circulating on social media show fans leaving their seats to copy choreography beneath the screen, effectively turning the cinema into a makeshift club. Supporters say it is “one of the best movie-going experiences” they have had, arguing that a film about a superstar performer should be celebrated with movement and noise. Others are furious, insisting they paid to watch a movie, not the silhouettes of fellow fans doing routines in front of them. The backlash highlights how music-centred films blur the line between concert, karaoke session and traditional cinema experience. As chains increasingly programme artist biopics and concert movies, questions of etiquette—Is dancing OK? Is singing along disruptive?—are becoming central to fan culture in cinemas, not just what happens on the screen.
Old Footage, New Attention: Why ‘This Is It’ Is Surging Again
While Michael divides critics, another Michael Jackson project is quietly booming on digital platforms. The 2009 documentary This Is It, which assembles rehearsal and behind-the-scenes footage from the concert residency Jackson was preparing before his death, has surged up PVOD charts. Data from FlixPatrol shows it recently jumped to #2 on Vudu’s Top 10 Movies list and entered Top 10 rankings on the Apple TV Store in markets from India and Thailand to the Netherlands and Lithuania. Originally criticised as a profit-driven release, the film has long doubled as both memorial and masterclass in Jackson’s stagecraft. Now, negative reviews of the biopic appear to be sending curious viewers back to this record breaking documentary, seeking what they perceive as a more authentic glimpse of his artistry—real vocals, real rehearsal rooms, and no actor standing in for the star.
New Abuse Allegations Shadow Fan Celebrations
The biopic’s rollout has collided with a fresh wave of sexual abuse allegations against Jackson’s estate, complicating the celebratory mood in and around cinemas. Four siblings from New Jersey have filed a lawsuit in Los Angeles federal court, accusing Jackson of grooming and abusing them from childhood and alleging that members of his entourage, as well as estate-linked lawyers and a private investigator, enabled and later manipulated the family. Their complaint includes claims of drugs, alcohol and exposure to child pornography used to normalise the alleged abuse. The estate’s representatives have dismissed the suit as a “desperate money grab” and “shakedown attempt,” noting that the family previously defended Jackson for decades. For audiences, this clash of narratives—family-approved cinematic tribute versus harrowing legal accusations—makes any public celebration, from dance-offs to fan singalongs, ethically fraught and emotionally charged.
How 2026 Audiences, Including Malaysians, Navigate a Contested Legacy
Taken together, the cinema dance trend, renewed interest in This Is It and the latest abuse lawsuit reveal how contested music legends are in 2026. Fans are not passively consuming a finished myth; they are actively choosing how to engage—whether by turning screenings into joyous communal events, revisiting older material that feels closer to the artist, or stepping back altogether in light of troubling allegations. For Malaysian viewers watching these debates unfold online, the decision to see Michael in cinemas may hinge on what they want from the experience. Those craving a big-screen sound system, crowd energy and the thrill of iconic choreography may accept, or even welcome, a concert-like atmosphere. Others, uneasy with the unresolved abuse claims or with noisy audiences, might opt for home viewing of both the biopic and the documentary, where they can control the volume—and the distance.