What a first-rate biopic Michael is.
Covering Michael Jackson’s early life and pre-Neverland rise to global fame, the film charts how MJ outgrew the restrictions of performing with his brothers and established his own name, much to the chagrin of his abusive, oppressive father.
Anchored by a very convincing lead performance by MJ’s nephew Jafaar Jackson – who replicates his moves and speech patterns flawlessly – and boasting solid support from a top cast including Colman Domingo (as Joseph, the dad), Nia Long (Katherine, the mother), Miles Teller and Mike Myers, the film offers a highly entertaining and, at times, revealing ride through the first half of MJ’s life and unparalleled music career.
Insights into his solitary creative process that produced so many massive hits are complemented by recreations of some of his classic music videos including Beat It and, of course, Thriller.
Bravely, the film also delivers a lengthy segment involving the accident that occurred while MJ was shooting a Pepsi commercial.
To fit everything from such a big life into one film was clearly a challenge – the first cut of the 122-minute film ran three-and-a-half hours – and the producers, including many family members, are planning a follow-up if this one rings the bell.
Such a film would likely cover the scandals and personal issues not covered here simply because they hadn’t happened yet.
This has not stopped unfair criticism that this movie is somehow trying to avoid them. We shall see.
In the mood for a good, old-fashioned race-against-time thriller? Then check out Fuze, a terrific crime-action jaunt about a World War II bomb discovered in the middle of London.
Mystery seeps into the story when the police detect strange behaviour coming from within the evacuated area. A very nifty, fast-paced little number.
Poor Rebel Wilson. A tangled legal mess has largely overshadowed her impressive directorial debut The Deb, a bright, funny musical comedy about a stuck-up private school princess who is forced to live with her naive country cousin.
The film is still playing and should have been a hit but has been hobbled by these squabbles. A pity.
Arthouse denizens have two top treats to suss out.
A strong drama about ageing, Calle Malaga is a moving Spanish-language film about widowed woman Maria (Carmen Maura in a beautiful performance) whose contented life in her Moroccan home is disrupted when her loving, financially desperate daughter Clara (Marta Etura) puts the place on the market.
Scenic and full of colourful atmosphere, it’s a very good film with many tender moments that say some important things about seniors and sex.
Set in a quiet Australian country town, Alphabet Lane is a beguiling little domestic psycho-drama about a young couple (Tilda Cobham-Hervey; Nicholas Denton) who decide, for mysterious reasons, to create two imaginary neighbours.
A a well-directed tale that keeps you guessing, the film’s final stretch easily ranks as one of the weirdest you’re likely to see in a while.
Adapted for the screen many times, William Golding’s masterpiece novel about civilisation and savagery gets an intriguing interpretation in the four-parter Lord of the Flies, now on Stan.
For those few who don’t know, the classic story recounts how a group of English schoolboys survive on a remote island without adults, who were all killed in a plane crash.
Divided about how best to survive until rescue arrives, one group chooses order and civility while the other prefers the freedom of going wild.
Wisely, each episode focuses on a different character, a move that adds much more nuance and depth to the story than the 1963 film, easily the most famous version thus far.
The series doesn’t hold back on brutality and cruelty, something those familiar with the 1954 book and the original film will appreciate.
Still, sensitive viewers might want to avert their eyes when things get nasty.
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