Two new films hit cinemas: Mother Mary, a grandiose psychodrama blending supernatural horror and original songs by Charli XCX, and Michael, a biopic of the King of Pop. Both receive two out of five stars.
Mother Mary (15, 112 mins) – Verdict: Heavens Above
Imagine a quirky perfume ad extended to nearly two hours, and that captures the essence of Mother Mary. Anne Hathaway stars as the titular pop superstar, a character echoing Taylor Swift with influences from Lady Gaga and Madonna. She portrays an American icon who harnesses her fans’ devotion, donning a halo and performing tracks like “Holy Spirit” amid energetic dancers.
The story unfolds with a diminished Mary arriving disheveled at the home of her English ex-designer and hinted former lover, Sam, played by Michaela Coel. With her comeback show just three days away, Sam has little time to craft the perfect dress, using the opportunity for subtle revenge over past relational scars.
Director David Lowery amplifies the drama with excessive body horror and a ghostly figure—a lady in red reminiscent of eerie visions. This contrasts sharply with the more restrained couture tensions in Paul Thomas Anderson’s Phantom Thread (2017). Overwritten dialogue strains the cast, particularly in a protracted studio scene where Coel and Hathaway exchange verbose lines like a thesaurus-fueled rally.
Mary declares, “I want what you want, but I want you to want it for the right reasons,” highlighting the film’s labored exchanges that test audience patience.
Michael (12A, 127 mins) – Verdict: Dishonest Biopic
Michael chronicles Michael Jackson’s early rise, portraying him as a messianic figure radiating love, charity, and showmanship. Jaafar Jackson, the singer’s nephew, delivers a striking resemblance in appearance, voice, and moves, though acting depth remains limited.
The narrative spans from Gary, Indiana, in 1966, where father Joe Jackson demands relentless rehearsals from his sons, enforcing discipline harshly. Young Michael recites Peter Pan in bed, exclaiming, “Neverland was finally free,” a nod to his future ranch.
Success follows: The Jackson 5 impress Motown’s Berry Gordy (Larenz Tate) by 1969, leading to Michael’s solo career, nose surgery, dismissal of Joe via fax from manager John Branca (Miles Teller), and the 1984 Pepsi shoot accident where his hair ignites.
Directed by Antoine Fuqua with screenplay by John Logan, the film ends in 1988, hinting at a sequel. It sidesteps personal controversies, offering a glossy $200 million production focused on triumphs rather than complexities.
Both films screen in cinemas now.
