The latest music biopic to come down the pipeline is none other than “Michael”, a film highlighting the King of Pop himself, Michael Jackson. But surprisingly much of the early conversation has revolved around the scathing reception from a cynical segment of fellow critics, who desperately wanted a darker, more incisive character study rather than a celebration of music and artistry that defined an era. That’s certainly their prerogative. But there’s a fine line between critiquing a movie for what it is and for what you want it to be.

That’s not to say “Michael” should be free from criticism or that it isn’t due some. It’s true that the film’s starstruck perspective doesn’t allow much room for a deeper understanding of Michael Jackson the man. And it doesn’t draw clear lines from some of the issues it itself introduces to the root causes of them. But “Michael” is far from the disaster it’s portrayed to be. It’s an engaging and often electrifying tribute that centers on the one thing about Jackson that is undeniable – his music took the world by storm and is still beloved today.

Director Antoine Fuqua doesn’t stray too far from the standard biopic formula. But he energizes it with a strong focus on the timeless music and unforgettable performances that made Michael Jackson a legend. But there is more to “Michael” than just great tunes. Screenwriter John Logan (“Gladiator”, “Skyfall”) hones in on a specific sliver of Michael’s family life. His story tells of a domineering father, a nurturing mother, and a talented son eager to take charge of his own career.

The story begins in 1966 with the blue-collar Jackson family living in Gary, Indiana. That’s where Joseph Jackson (portrayed with uncomfortable intensity by Colman Domingo) brings his five sons together to form a music group he calls the Jackson 5. The youngest is 10-year-old Michael (played by an extraordinary Juliano Krue Valdi), the group’s sweet yet eccentric lead singer who loves Peter Pan and watching movies with his mother, Katherine (Nia Long).

The cold-hearted and abusive Joseph sees the Jackson 5 as his ticket out of the steel mill. So he pushes his sons through a punishing schedule of rehearsals and area gigs until they’re finally noticed and signed by Motown Records. It doesn’t take long for their album to reach the top of the charts and the Jackson 5 quickly becomes a household name. Joseph wastes no time moving his family out of Gary and into a mansion in Encino, California.

As years go by, the Jackson 5 remain a successful act while growing up on stage for the entire world to see. But by 1978, Michael (now played by MJ’s real-life nephew Jaafar Jackson) had grown tired of Joseph’s suffocating control. So he teamed up with producer Quincy Jones (Kendrick Sampson) to make a solo album. “Off the Wall” was Michael’s chance to reintroduce himself to the world. The album was a smash hit, much to the chagrin of Joseph who only saw himself as the reason for Michael’s success. This sets up the father-son conflict that propels much of the story.

I won’t spoil every stop on the movie’s timeline, but Fuqua hits several key points in Michael’s career, my favorite being the development of the all-time best-selling album, 1982’s “Thriller”. We see the origins of “Beat It”, his close partnership with attorney John Branca (played by Miles Teller), his push to get his videos on MTV, the Pepsi incident, the Don King promoted Victory Tour, and so on. More personally, we’re shown Michael’s insecurities in his “friendship” with animals, in his childlike private life, and in his first cosmetic surgery (“I have to be perfect.”).

But undoubtedly many will be quick to point out what the movie doesn’t include. It’s true that the film avoids the more complicated parts of Jackson’s legacy. We never see the growing tension between Michael and his brothers; nothing about the construction of Neverland; no mention of his whirlwind marriages or his growing health issues; and it never addresses the sexual abuse allegations which he vehemently fought against. But in fairness, “Michael” ends in 1984 before the bulk of the controversies played out. And Fuqua teases there may be more to come by ending his film with an exhilarating recreation of Jackson’s 1988 performance of “Bad” at Wembley Stadium followed by the words “His story continues”.

“Michael” is worth seeing for the enduring music alone. But you’ll be just as blown away by the performances that bring the King of Pop to life. Valdi is astonishingly good, fully capturing a younger Michael’s tenderness at home and his magnetic charisma on stage. But most people will be talking about the amazing debut performance from Jaafar Jackson whose uncanny resemblance to his superstar uncle can’t be overstated. From his vocals and mannerisms to his incredible dancing, Jaafar poured years into studying and mastering Michael’s moves. But it’s the added touches of vulnerability that make this more than a mere impression.

You wouldn’t be wrong to say “Michael” was made by Michael Jackson fans for Michael Jackson fans. In that regard, the movie knows what it is and who it’s for. That won’t sit well with those hungry to have certain personal feelings about the singer fed. But it’s a cinematic experience that is sure ramp up the pulses of fans all across the globe. It’s slick and polished entertainment. It’s also nothing short of dazzling. And if you go in with the right expectations, you’ll be tapping your foot, bobbing your head, and fighting the urge to sing for most of the film’s music-filled two hours. I know I was.