It’s 2018 all over again. A musical biopic is smashing box office records despite poor reviews, and arguments are breaking out online over whether critics’ opinions do/should matter. No, I’m not talking about “Bohemian Rhapsody.” I’m talking about “Michael,” the Michael Jackson biopic that grossed $97 million at the domestic box office this weekend and $217 million worldwide.
The film was panned by critics (and Jackson’s daughter) for pandering to fans with a glossed-over version of the King of Pop’s career, playing the hits and ignoring more troubling aspects of his life — like those sex abuse allegations that were initially part of the film but excised due to a legal oversight.
But audiences didn’t care. The movie sits at a 33% Rotten Tomatoes critics score and 97% audience score.
The divide between critics and audiences isn’t new, but the online vitriol spewed by those on the “fan” side looks to turn appraisement into sport. Vulture critic Bilge Ebiri put it best: “Most of the people who get angry at critics for not liking any big movie these days aren’t even engaging with criticism. They’re upset about Rotten Tomatoes scores and crap like that. This isn’t art for them. It’s sports.”
Should critics take their roles seriously regardless of whether a film is “prestige” or a blockbuster? Yes. Is it OK that some moviegoers just want to have a good time? Also yes. And quite often critics and fans align! Everybody loved “Project Hail Mary,” and Baz Luhrmann’s “Elvis” was a huge hit with critics and fans alike.
But the “Michael” Wars playing out in corners of X and reddit are silly and counterproductive, especially as the art of film criticism is under threat from a crumbling digital landscape and media illiteracy.
Lionsgate, meanwhile, is laughing all the way to the bank.
Box Office: ‘Michael’ Thrills With Biopic Record $217 Million Global Opening
Lionsgate/Universal’s “Michael” is setting the box office up for a big summer, breaking the all-time opening weekend record for biopics with a launch of $97 million domestic and $217 million worldwide.
“Michael” has been circled by theater owners as one of the big tentpoles to look out for ever since it was first announced that Michael Jackson would be played by his nephew, Jaafar. But the question was whether it would be simply a huge hit or one that could smash records left and right.
After this weekend, “Michael” is well on its way to becoming the latter.
It is a lock to become the first Lionsgate release outside of the “Hunger Games” or “Twilight” franchises to gross more than $200 million domestic and will become the studio’s highest-grossing film since the main “Hunger Games” series ended in 2015. A domestic multiple of more than 3x will put “Michael” past the $283 million of “The Hunger Games: Mockingjay — Part 2” to become one of Lionsgate’s top 5 highest-grossing films of all time before inflation adjustment.
And globally, where Universal handled international distribution, “Michael” will now take aim at the unadjusted all-time biopic record held by “Oppenheimer” with $975 million, followed by the Freddie Mercury biopic “Bohemian Rhapsody” with $906 million from its 2018 release.
Whether it gets there will depend on how word-of-mouth travels beyond MJ’s rabid global fanbase, who will surely be back in theaters for repeat viewings. Those fans have been effusive in their praise for the film, giving it an A- on CinemaScore and a 97% Rotten Tomatoes audience score.
But competition is coming in the weeks ahead for general audience attention, starting with 20th Century’s “The Devil Wears Prada 2” on May 1, which will have some overlap with “Michael” as the biopic drew an opening weekend audience that was 61% female, according to PostTrak data. – Jeremy Fuster
The Spotlight
How did “Michael” weather terrible reviews and a tumultuous production to record-breaking box office? Jeremy Fuster explains how the film’s fans vs. critics divide underlines the golden rule of successful music biopics: play the hits. Read the full story here.
New Releases
Long Windows Win: Jeremy Fuster explains why, after years of pivoting to streaming, long theatrical windows are becoming the new (old) normal.
Making ‘Michael’: Reshoots, legal threats and a scrapped third act — Drew Taylor and Umberto Gonzalez dig into the messy making of “Michael.”
The WGA Tradeoff: Big news for labor last week as WGA members voted to approve its new deal with studios. Jeremy Fuster has the details on how it happened so quickly.
The Art of the Remake: Jorma Taccone talked to Drew Taylor about how he approached his Hollywood remake of the Norwegian film “The Trip.”
Farrelly Goes Lowbrow: Drew also spoke with Oscar-winning “Green Book” filmmaker Peter Farrelly about his decision to return to goofy, raunchy comedies with Prime Video’s “Balls Up.”
Concession Stand
The Michael B. Jordan-Autin Butler “Miami Vice” redo by Joseph Kosinski is happening — Universal dated the film for May 2028.
Speaking of, Jordan is staying busy by putting together an adaptation of the video game “Battlefield” with “Mission: Impossible” director Christopher McQuarrie. They bypassed the studios to put the project together and are now out to buyers, offering some competition for Paramount’s “Call of Duty” (the two video game franchises are rivals).
The first trailer for “Clayface” is creepy.
But the best trailer of the week goes to “Coyote vs. Acme,” which takes direct aim at Warner Bros. Discovery.
A sequel to last year’s rom-com slasher movie “Heart Eyes” is coming. Sony released the first one, but the Spyglass-produced follow-up will be released by Paramount.
James Gray’s next film, the Adam Driver-Scarlett Johansson drama “Paper Tiger,” has been scooped up by Neon ahead of a Cannes bow.
Curry Barker, a creator whose first film “Obsession” is already getting great buzz, has been tapped to direct A24’s “Texas Chainsaw” movie.
Streaming Corner
- If you’ve noticed a lot of book-to-screen adaptations at Netflix, that’s no accident. And there’s been a halo effect for its most successful films — Emily Henry’s “People We Meet on Vacation” saw a 515% increase in audiobook listens after it premiered earlier this year.
What I’m Watching
Richard Gadd’s toxic-masculinity diatribe “Half Man,” currently airing on HBO, is excellent and brilliantly performed. It is also such a tough/dour watch that it’s difficult to, in good conscience, recommend that anyone actually watch it.
