Spike Lee vs. Michael Jackson Critics: The Controversy Over the Biopic & Paedophile Allegations

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The new Michael Jackson biopic, Michael, has ignited a fierce debate among critics, filmmakers, and fans since its release, with two prominent voices—filmmaker Spike Lee and Dan Reed, director of the documentary Leaving Neverland—publicly clashing over how the film portrays the late pop icon. While the biopic has been praised for its musical performances and star power, critics argue it fails to address the sexual abuse allegations that have long shadowed Jackson’s legacy.

Spike Lee, known for his outspoken views on culture and cinema, delivered a blunt assessment of the film during a recent appearance on CNN. When asked about Michael, Lee famously declared, I love it, but his message to critics who faulted the film for not addressing Jackson’s alleged abuse was even more pointed. In a now-viral clip, Lee used a hand gesture to dismiss the idea that the film should have included those allegations, suggesting that such a focus would have been a distortion of Jackson’s story.

Lee’s defense of the biopic contrasts sharply with the criticism leveled by Dan Reed, director of Leaving Neverland, a 2019 documentary that detailed the abuse allegations made by Wade Robson and James Safechuck. Reed, speaking to Variety, called the biopic a false narrative around a paedophile and accused it of distorting Jackson’s relationship with children. They’re saying the reason Jackson liked children is because he’s an angel, not that he wanted to have sex with them, Reed said, referencing how the film portrays Jackson’s interactions with young fans and patients in hospitals.

Reed’s frustration stems from the biopic’s decision to conclude in 1988—five years before the first public allegations of abuse surfaced. The film, directed by Antoine Fuqua and backed by Jackson’s estate, focuses on his rise to fame with the Jackson 5 and his solo career, using original vocals and choreography. While critics have praised Jaafar Jackson (Jackson’s nephew) for his performance, many have criticized the film for its lack of depth and its failure to engage with the controversies that defined Jackson’s later years.

Critical reception has been mixed. Some reviewers, such as those at The Hollywood Reporter, noted that the film delivers for lifelong fans who cherish the music, while others, like The Guardian’s Peter Bradshaw, called it a frustratingly shallow, inert picture that can’t quite bring itself to show that Michael was an abuse victim. The Independent went further, describing the film as a ghoulish, soulless cash grab that reduces Jackson to a product rather than a complex human being.

The debate over Michael reflects broader tensions in Hollywood about how to handle biopics of controversial figures. The film’s financial success—it grossed $97 million in the U.S. And $217.4 million worldwide in its opening weekend—has only intensified the conversation about whether biopics should prioritize entertainment value over historical accuracy or ethical reckoning.

For now, the clash between Lee and Reed underscores the difficulty of balancing artistic license with the weight of real-life consequences. While Lee stands by the film’s portrayal, Reed’s criticism highlights the unresolved questions about Jackson’s legacy—and how cinema should engage with it.

Michael is currently playing in theaters worldwide. The film is distributed by Lionsgate and Universal Pictures.