To make a movie about Michael Jackson is to make a movie about the second coming of Jesus Christ. Not since the son of God has a man been so beloved throughout the world, his fans endlessly devoted and transcended by his presence. His talent was proclaimed to be God-given, as there was no scientific explanation for how a mortal could possess such skill and grace. And like the messiah, he was taken away from us too quickly, his message still thriving long after his physical body.

If that all sounds a little too preachy, then you probably won’t vibe with the new biopic on the King of Pop. Michael makes that messianic connection with its full chest, combining blockbuster entertainment with those highlight reel documentaries that constantly loop in the lobbies at a famous person’s museum. Jesus healed the blind; Michael donated millions to children’s hospitals. Jesus fed thousands with only five loaves of bread and two fish; Michael started the Heal the World Foundation. Jesus resurrected the dead; Michael ended gang warfare through the power of music.

Granted, that list of Michael’s kind gestures is true. But even Jesus had his flawed elements, and Tom Hanks’ version of Fred Rogers in A Beautiful Day in the Neighborhood subtly investigated the beauty of imperfection. Here, Michael Jackson is the most perfect person ever to exist, with his only potential flaw being his over dedication to his family, specifically his domineering father, Joseph. Colman Domingo’s performance invites you to debate the pitfalls and merits of his browbeating. It’s clear that Michael was born with his talent, but would he and his brothers have ever gotten out of Gary, Indiana, if not for their father’s relentless pressure? A more interesting movie would have better grappled with that question.

As written by John Logan (screenwriter for the Howard Hughes biopic, The Aviator) and paid for by the estate of Michael Jackson, this film would rather take the easy way out at every turn. Genius is nearly impossible to explain, which is why young Michael merely speaks and behaves in plot points. He reads Peter Pan to himself while on tour with the Jackson 5, wishing that he could someday rebuild Neverland. He constantly talks about his love for animals, how they’re family, not pets.

The irony only gets thicker as Michael grows up. His boundless creativity and exuberance are stymied by those who want to control him, with his fear of confrontation weaponized against him. Bohemian Rhapsody producer Graham King and director Antoine Fuqua exert a similar amount of control over Michael’s story, keeping things flying at a breakneck pace within the 127-minute runtime. Every song is conveniently used to cue a montage, the years flying by as “Billie Jean,” “Beat it,” “Don’t Stop ’til You Get Enough” boom over the loudspeakers. Except that it takes nearly eighty minutes to get to “Thriller,” which confirmed my suspicion that this biopic was going to need another canvas.

King and Fuqua have just as much of a fear of confrontation as Michael, opting to placate audiences at every turn with showstopping numbers and by-the-numbers plotting. With four credited editors, including Bohemian Rhapsody Oscar-winner John Ottman, each set piece is cut with frenticism and flash. While shooting “Thriller,” Michael talks about the importance of wide shots to highlight the dance moves, citing Fred Astaire as an influence. It never seemed like Fuqua was interested in replicating that, leaving Jaafar Jackson’s considerable physical talents to feel limited. The musician’s nephew nails the physical aspects of the role, singing and dancing with an uncanny resemblance.

Like all biopics, the recreation aspects are never the most important part, especially when you can easily look up the source material. What’s important is finding the emotional truth, the feelings that can’t be transferred through the written or spoken word. Michael doesn’t have that level of ambition, which, to its credit, could be reserved for the next chapter. But based on the strategy implemented here, I expect another serving of just desserts.

Lionsgate will release Michael in theaters nationwide on April 24th.