In a major win for an original, non-franchise release, Antoine Fuqua’s Michael Jackson biopic Michael dominated the global box office in its debut frame, delivering a massive $97 million opening weekend domestically and $120.4 million overseas for a worldwide total of $217.4 million.
The film came in nearly $30 million ahead of projections and its domestic haul sets a new record for the biggest opening ever for a biographical film, surpassing Oppenheimer’s $80 million debut (not adjusted for inflation). Globally, it also overtook Queen’s Bohemian Rhapsody to claim the top opening weekend for a music biopic.
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Directed by Antoine Fuqua and backed by Lionsgate, Michael also marks the studio’s strongest debut since the pandemic and ranks among its top six openings of all time. Internationally, where Jackson’s appeal remains especially strong nearly 17 years after his death, the film launched in 84 markets, setting new genre benchmarks in dozens of territories including the U.K., Germany, France, and Brazil. Distributor Universal Pictures is handling the film overseas.
Heading into the weekend, industry projections had Michael opening closer to $70 million domestically. But strong turnout quickly signaled broader appeal beyond core fans, driven in part by the film’s family-friendly approach and focus on Jackson’s music. A third act detailing the sexual abuse allegations that derailed Jackson’s career was filmed but later scrapped for legal reasons, with reshoots costing a reported additional $10-15 million. The final production budget was said to be in the $200 million ballpark.
Despite lukewarm critical reception (it presently has a 40% critics score on Rotten Tomatoes), attendee response has been overwhelmingly positive. Exit polling shows a 97% audience score on the platform, along with strong PostTrak ratings in the low 90s and an A- CinemaScore.
Demographically, Michael drew a notably wide audience. While Black moviegoers made up the largest share at 38%, the film also attracted 26% Latino and 26% white audiences. Age-wise, turnout spanned generations: roughly half of ticket buyers were between 18 and 34, while audiences over 35 made up a nearly equal portion. Notably, older moviegoers — a group that typically skips opening weekends — showed up in significant numbers.
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