Displaying items by tag: Miles Teller

MICHAEL

US, 2026, 127 minutes, Colour.

Jafaar Jackson, Colman Domingo, Nia Long, Miles Teller, Juliano Valdi, Larenz Tate, Kendrick Sampson, Laura Harrier.

Directed by Antoine Faqua.

Michael is a cinema extravaganza, a celebration of the music and talent of Michael Jackson. It is for his fans, older, as well as up-and-coming. And it is also the story of an unusual man, his character, childlike in many ways, enthusiastic, but also growing into a man of steely intentions and ambitions. And he achieved them.

And, while there is a great deal of celebration of his music, his stage and screen presence, singing, dancing, his energetic feet, there is a great deal of the underlying family drama. Fans of Michael Jackson will know that his father, Joseph, a miner from Gary Indiana, was a dominating, even frightening presence in the household, intense ambitions for his sons to be successful in show business, the Jackson Five, with little Michael at the centre, the star. Colman Domingo is a frighteningly powerful presence as Joseph. Throughout the film there are highly dramatic moments, violent confrontations with his son, belting him, making demands, then, finally challenged by his son, life-defiance.

Which means then that this is basically a musical with an underlying family story. And, it ends in 1988, a peak of musical performance success, Michael a world star. Which raises the questions in many audience’s minds about the subsequent years of his life, his unlikely marriage to Lisa Marie Presley, the building of Neverland, his eccentric lifestyle, and, then, the accusations of sexual molestation. These are not a part of this film. There have been documentaries like, Leaving Neverland, probing Michael Jackson’s later years. They could be part of a further film about Michael.

But, what we have here, is the Jackson exuberance, and a strong star performance by Michael Jackson’s nephew, Jafaar (son of Jermaine), its lip-syncing to Michael Jackson singing, but displaying all the energy that marked his uncle’s singing and dancing. And the young actor, Juliano Valdi, playing little Michael, is a vital talent, singing and dancing, and the scenes with him and his bullying father. (Michael sister, Janet Jackson, chose not to be a participant in the film at all and her absence does seem strange.)

The supporting cast is strong, some veterans like Larenz Tate as Berry Gordy. Miles Teller plays Michael Jackson’s agent and promoter, John Branca, with glimpses into the racist attitudes at MTV and the CBS executive (a cameo from Mike Myers) pressurising a breakthrough. And there is Joseph Jackson approaching sports entrepreneur, Don King, to promote concerts. And some re-creations of the filming of Thriller.

By 1988, Michael Jackson, ambitious, had achieved his childhood hopes, his adult efforts, a key musical figure of the 20^th century. But, as we know, there was more to come.

1. Michael Jackson as a 20^th-century celebrity, in the US, around the world? This film as a tribute to his talent and celebrity? Singing, dancing, stage presence, television presence, as a child, growing up, as adult?
2. The involvement of the Jackson family in this production, Jafar Jackson as Michael’s nephew, impersonation of his uncle, dancing and feet movement, sinking the songs?
3. The inclusion of so many Jackson 5 songs, Michael Jackson’s own songs, the situation of songs inclusion in the film, rehearsal, performance, small clubs, concerts and tours, studios, the Farewell Concert, London…? And the filming of sequences from Thriller?
4. Comment about the omission of some characters, Janet Jackson, Michael Jackson’s personal life, marriage, children? And the personal issues in the court cases? The film stating that it continues and that being a different film and different issues?
5. The impact of Joseph Jackson, Colman Domingo’s presence and performance, his background, mining, his long-suffering and devoted wife, his ambitions for his sons, the Jackson 5, the opening sequences of rehearsal, his demands, especially on Michael, the eye line, the violence of the belting, the revelations about his character, intensity, exercise of power? And the impact, physically, mentally, emotionally on Michael?
6. The initial success, the gig, Michael and his presence, audience response? Michael growing up, the background of his brothers, their working together, the musical talent, the singing, supporting their brother?
7. Gary Indiana, the mining background, the moves to California, money coming in, the change of life, style, clothes…? Joseph and his becoming the manager and entrepreneur? Promoting the Five, the discussions with various producers, the significance of the discussion with Don King, King and his support, sporting background, promotions, Michael to be at the centre, and the veiled threat to Joseph about honesty?
8. Michael, as a child, reading, Peter Pan, the characters, his father as Captain Hook? The eternal boy, never growing up, living in Neverland? His reading in the car, a refuge? And pets, as he grew up, the snake, the discussions about the llama and spitting, actually getting a giraffe? In the grounds of the house? His childlike delight?
9. But his ambitions, to be a world star, wanting to be on his own, breaking the hold of his father, their various meetings and confrontations, even his father’s threat to belt him as an adult, his mother’s intervention?
10. His meeting with the executives, reputation of John Branca, his giving the right answers, the executives, Michael choosing him, and the scenes of their work together over the years? Branca’s achievement for Michael success?
11. The gangs, the style of dancing, Michael’s visit, gathering them together, explanations, the dancing style, his inventiveness? And the filming of Thriller, John Landis the director, Michael’s make up, the living dead, the dancing, focus on his feet? The visit to CBS, Branca and Michael making the demands, the executive offering him everything, the phone call to MTV the producer, the racist background of excluding African-American videos, the pressure, the consent, the record-breaking sales and views?
12. Joseph Jackson, his reaction to Michael, pride as well as his own pride hurt, the confrontations, Michael and his mother, the brothers?
13. The pressure to do the tour of the Jackson 5, the Don King backing, Michael agreeing, the performances, the scenes of the crowds, the venues, the excitement, the performances?
14. Michael, his determination, and to get away from his father, the buildup to the sequences of the Farewell Concert in LA, the success, the response, and the drama of Michael’s announcement that that was the end of the Jackson 5, his father, listening, the response, Michael defiant?
15. The London concerts, the British crowds and their response?
16. And the film ending there, the achievement of success, the musical phenomenon of the 20^th century, Michael’s future, and the reality of the behind-the-scenes, Neverland, marriage, children, abuse accusations, court cases, his death, and the documentaries about him?

ETERNITY

US, 2025, 114 minutes, Colour.

Miles Teller, Elizabeth Olsen, Callum Turner, Da'Vine Joy Randolph, John Early, Barry Primus, Betty Buckley.

Directed by David Freyne.

Till death do us part. And after that…? Eternity.

While the title can have some profound implications, there is a light touch here, in fact, a variation on a romantic comedy.

For audiences going to see Eternity, there is the question of whether they believe in any life after death. If not, here is a fantasy speculation, amusing in its way. For those who do believe in life after death, is it just something of a continuation of life here on earth? The screenwriters of Eternity, present it as if it is, extremely terrestrial, but an opportunity to reaffirm one’s life choices. Those who have religious beliefs, they are not presented in the screenplay, but believers will give some thought to the religious implications of life after death.

And, perhaps, romcom is an enjoyable way of raising some more profound issues of death and life after.

The story raises a question that many would not have given much thought to. If a person who dies has married, her husband killed in war, then her marrying again and having a happy life of 67 years with family, who will be her husband in eternity. (And, of course, those who know the Gospels, will remember that Jesus said there is no giving and taking in marriage and heaven.)

The film opens with the elderly couple, touch of bickering in the car as they go to celebrate with the family, both in their 80s, at least. And, unexpectedly, the husband dies – and finds himself in eternity junction, a huge railway complex where the dead meet their adviser, and are offered a huge range of possible paradise choices (some serious, some funny parodies… In the advertising posters). And, his wife who is ill, dies, and joins the crowds milling at the junction waiting for the trains for their eternal destinations all very personalised with Larry, Miles Teller, dying and being at his best age, mid-30s. (And, with that question which many ask, what age will we really be at in eternity.) Joan, Elizabeth Olsen, was married briefly to Luke, Callum Turner, and experienced the sadness of his death in the Korean War. It turns out that people can have an option to stay working at the junction rather than going into eternity and Luke has been at a bar, where he does encounter Larry, the 67 years.

Larry and Joan have their carers, played by John Early and Oscar-winner, full of verve and vitality, Da’ Vine Joy Randolph.

And the romcom premise is Joan will have to make an eternal choice between Larry and Luke.

Which means then that the audience is going to have to make a choice with her! Luke has remained at the day he died, young, in love, hopeful. Larry, on the other hand, has 67 years of memories and does not take well to Luke’s claims. What is Joan to do? What do the carers suggest? (And we still keep wondering why she has to choose one and exclude the other for eternity.)

So, some funny sequences, some pathos, some retracing the steps of life, emotional uncertainties, yearnings…

So this romcom has the overtones of a mystery which keeps us puzzling and, as we look at the final credits, wondering which choice we would have made in Joan’s place – and whether she makes the right choice!

1. The title? Expectations? Life after death?
2. A romantic comedy, fantasy, a terrestrial paradise? Choices for eternity?
3. Audience response to the idea of eternity? No belief in life after death? Yet imagining it? Of those who believe, continuing existence? Religious dimension? God, heaven, hell, purgatory?
4. The contemporary setting, the family party, Larry and Joan in the car, chatter, the touch of bickering, the 67 year relationship? Larry and the pretzels? Joan and her illness? At the party, the welcome, Larry and the pretzels, choking and dying?
5. The visualising of the junction, a vast railway station, railway network, various offices, the amenities, apartments and interiors, the bar, the enquiry desk…?
6. The posters indicating such a variety of eternity’s, serious, comic? Hedonistic? Selfless?
7. The staff, their decision not to choose eternity, working, the guides? The focus on Ana and Ryan? The personalities, this stunning working? The past bond, the rivalries, marking out their territories, bonding again?
8. Larry, at 35, his happiest time? Arrival, the mirror, realising he was dead, the puzzle, the crowds and the variety of the dead? Asking advice? Meeting Anette, her being busy, taking on the tour, finding his apartment, explaining the possibilities, bonding with him, the conversations? His apartment, her being there during the night, his waking, puzzle? And finding that Joan was in hospital, the sequence of her death?
9. Larry, wandering, encountering Luke at the bar? The woman propositioning at the bar? Going down the escalator, Joan, her arrival, her age, her best self? Puzzled, the carer, Ryan? On the escalator, Larry rushing down, chasing her?
10. The basic romantic comedy and situations, Luke, going to the war, career, his death? Joan, grief, encountering Larry, marrying, the happy times together, 67 years, the children? Till death do us part – and then afterwards, for eternity, the choices?
11. The basic proposition for the screenplay, that Joan had to choose one, not both? And her experiences leading her to choose neither? The long friendship with Karen? Larry and his visit to her, her explanation about her life, marriage, lesbian, her best aged 72? Joan going to see her, the discussions, Karen sympathy, going to the Paris paradise?
12. A dramatisation of the choice, her time with Luke, his waiting 67 years for her to come, his young appearance (yet the joke about dying his hair and the photos and his cupboard)? There reviewing the sequences are their time together, including his death? Keeping company, the happy times, the audience response as to whether she should choose Luke?
13. Larry, intruding, angry at Luke, putting pressure on Joan? His time with her, at the crowded beach, her remembering the 67 years, stages of their life?
14. Ryan and Anna, continually there, their interventions, taking sides, advice, contriving situations?
15. The pressure on Joan, advice from Karen, her choosing neither, going to travel, on the train with Karen? Getting off?
16. Larry and Luke, together, antagonism, Luc going to his room, the note, the fighting, the drinking, becoming buddies?
17. Larry, becoming self-sacrificing, concern for Joan, letting her go with Luke?
18. The train ride, Luc happy with Joan’s choice, there paradise, the home, the neighbours, the socials, you’re going out and enjoying the socials, Joan, pining at home? The discussions with Luke, her decision to escape, with the prospect of living eternity in the void? Her going to the archives, looking at the scenes of her life, especially with Larry, old age? Luke agreeing, his acting, the man at the ticket office, his advice to Joan, her getting the key, escaping, the tunnel, the light at the end of the tunnel?
19. Finding Larry, her being pursued, the receptionist sounding the alarm, Ryan and Anna, making a decision to lie, saving her, her finding Larry? And the happy ending?
20. For a romantic comedy fans, for fantasy fans, and the underlying serious issues of a life after death or not, and if there is, what would it be like, continuing life, making new choices, reconsidering choices, a touch of the Purgatory experience to prepare for paradise?