Interesting review here : Most reviews are in and the furor has abated a bit even as Spike Lee has weighed in on the “Elephant in the Room” missing from the new “Michael” Jackson biopic by Antoine Fuqua. But fans are still showing up in droves. And as I was off the clock and out of the country when it opened, I ducked in to catch “Michael” before checking out this week’s new releases on Thursday night. Lee’s got a point, that Fuqua’s film, scripted by three-time Oscar nominee John Logan (“Aviator,” “Hugo,” “Gladiator”), is perfectly within its rights (and the family’s all-controlling “permission”) to dwell on the rise of a superstar rather than the child abuse allegations that dominated the circus that was Jackson’s final decades. End your movie early enough and maybe the too-forgiving fans will forgive that most mortal of sins. You also dodge the sham marriages, bizarre public blunders, lawsuit settlements and an ongoing moral, ethical and public releations nightmare of the “Neverland Ranch” era. But “Michael” is so “authorized” that it calls attention to its myriad shortcomings. All the rough edges and much of the “reality” is rubbed off as we get little to no sense of how this pop music pixie took over the culture with iconic tunes and legendary dance moves, a towerinng and terribly damaged and flawed former child star whose lesser sins included billing himself “The King of Pop.” I mean, he was. But did he ever say that he wouldn’t name his breakout solo LP “Michael” because “It sounds too egocentric?” I doubt it. “Michael” takes us from the controlling, abused childhood young Michael (Juliano Valdi) endured — a childhood stolen by his greedy, abusive father Joseph (Colman Domingo, excellent as always, but restrained) — in the ’60s to his break from his Jackson Five brothers and manager/father for solo superstardom, his triumphs and trials and accidents in the early to late ’80s.

I think this Julie wants problems 🤣🤣🤣

Yeah !