Let’s be clear. Michael the blockbuster biopic of the King of Pop’s rise to stardom is far from a great movie.

It is, however, nostalgic. Written by John Logan and directed by Antoine Fuqua, the flick tickles my 70s’ baby Michael Jackson memories. We see MJ rise from the bell-bottomed lead singer of the iconic Jackson 5, to a young man commanding attention during his Off the Wall era — his best album, in my opinion.

I remembered how I screamed with glee the first time I saw Jackson effortlessly slip into the Moonwalk when he performed “Billie Jean” Motown 25 in 1983. Seeing Bubbles — his now 43-year-old chimpanzee who now comfortably lives in the Center for Great Apes — arrive at the Jackson compound tugged at my heart strings.

What was great in a not-great film was West Philadelphian Colman Domingo’s bone chilling performance as Joe Jackson, Michael’s abusive father.

Domingo’s transformation was great and it was absolutely terrifying, complete with Domingo wearing contact lenses to replicate Joe’s glassy, menacing eyes. His belly was padded and eerily protruded. Domingo’s faux Afro was late 60s coiffed and his Jheri curl had a nasty drip. His voice struck the same fear in me as Danny Glover’s sinister Mister in the 1985 version of Alice Walker’s The Color Purple. Every time Colman’s Joe Jackson beat Michael, played by the adorable newcomer Juliano Krue Valdi, I winced.

I agree with the critics who have said the movie doesn’t offer any new insight on Michael Jackson. In fact, I’d take it a step further, adding that it glosses over his Motown years in a way I found offensive and it even gets facts wrong. (The Jackson 5 did not perform “Never Can Say Goodbye” during their 1968 Motown audition. Clifton Davis wrote the song for the Jackson 5 in 1971.)

But the Emmy-winning Domingo’s Joe Jackson is a master class in acting that will make Philadelphians proud.

‘Michael’ is now playing in theaters.

— Elizabeth Wellington

In a cozy shop in the Italian Market, Wolfgang Sawallisch can be found conducting Schumann, Jacqueline du Pré playing Elgar, and Wanda Landowska taking on the Goldberg Variations.

Molly’s Books & Records focuses on rock, soul, jazz and folk — and of course, secondhand books — but a couple of bins offer a small but smartly curated collection of classical vinyl from the 20th century.

The hunger for vinyl in recent years has grown, says Joe Ankenbrand, co-owner of the shop with Molly Russakoff. Even if that demand “in the last couple of years has plateaued,” he says, “it is still strong.”

Audiophiles may have their reasons. But vinyl also brings a satisfaction to the user experience digital files can’t. For one thing, you walk away from a purchase with a tangible thing — something you own and will be able to access as formats come and go.

And then there’s a certain set of behaviors encouraged by listening to the big black disk. You dig into the liner notes or follow the libretto. There’s a bit of an investment of time in setting up a record, and so you’re not likely to listen to the first 10 seconds and then move on. If iTunes is made for the era of flyby listening, vinyl represents a path back to the intentional.

The stock at Molly’s changes, but on a recent visit the shop had out about 200 albums: a good selection of Philadelphia Orchestra recordings; Pablo Casals in the Bach Cello Suites; Leonard Bernstein with the New York Philharmonic in Shostakovich’s Symphony No. 5; and George Crumb’s Ancient Voices of Children with the inimitable mezzo Jan DeGaetani.

The shop also carries CDs. And, like any self-respecting independent bookshop, this one comes with something the digital marketplace will never be able to offer: Ace and Junior — tuxedo and tortoiseshell felines, respectively, who you might find nestled in the front window or surfing the stacks.

Molly’s Books & Records, 1010 S. 9th St., 10 a.m. to 6 p.m., seven days a week.

— Peter Dobrin

In the archives of the Fabric Workshop and Museum lies a treasure trove of art created by previous artists-in-residence. For their exhibit marking the 250th anniversary of the Declaration of Independence, curators reached into the vault to bring some of these historic gems to the fore.

Two works hanging side by side — curation is an art, too — stayed with me after a recent visit.

The first is a large all-white rendition of the American flag, draped along the wall to create a sense of movement. Who’s Afraid of Red White and Blue #37 (1990), by Donald Lipski, is stunning to see up-close, a little wrinkly but imposing, without the patriotic colors that oversaturate these national celebrations. By subverting that imagery, the artist evokes a compelling symbol of surrender.

Next to the flag is a banner that, in 1988, toured Philadelphia, appearing on display at Fleisher Art Memorial, Germantown Friends School, and the Bourse Building, as part of a series of public forums about racism.

Are You Telling Yourself a Little White Lie? by S.A. Bachman critiques mass media portrayals of white privilege and the American dream with pictures of the “ideal” family and rows of identical housing, bookended by corresponding images of a young girl in pink and a Barbie doll. The work is haunting, twisting these depictions of aspirational life into a vision of suffocating societal conformity — yes, built on lies.

One other standout: The exhibit also features a set of lantern-like sculptures from the inimitable Kara Walker that rotate occasionally to create a mesmerizing play of light and shadows on the wall.

“Some American Dreams” in on view through June 14, The Fabric Workshop and Museum, 1214 Arch Street, Phila. fabricworkshopandmuseum.org

— Rosa Cartagena

While in New Hope recently to see a play at the Bucks County Playhouse, a thought occurred: One of these days, I really should go see a show at John & Peter’s.

Had I ever been to the dive bar on Main Street hard by the Delaware River founded in 1972 that’s famous for its low ceiling, seedy ambiance and being the home base of Ween, the New Hope duo of Aaron Freeman and Mickey Melchiondo known for their twisted sense of humor and stealing the Liberty Bell in the “Freedom of ’76” video?

If so, I couldn’t remember. And then, lo and, behold, I checked the schedule and John Doe of the great Los Angeles punk rock band X was booked for two solo shows last weekend.

I followed the advice of a friend who went the first night and got there early on the second, an hour and a half ahead of time for a 9 p.m. show. Because John and Peter’s holds only 100 people, with far fewer than that number of seats. You want to be one of the first in line to enter the back room performance space to have any hope of grabbing a chair.

We did get seats in a tiny wooden booth akin to a ringside boxing seat. There was only a narrow ledge to balance my tasty, juicy wings and beer — Hill Farmstead Mary on tap! — between me and the stage. Clod that I am, I half expected myself to spill my beer on the bandstand.

But enough about the super intimate surroundings, with photos of past performers like Norah Jones and Mary Chapin Carpenter on the wall. What made this night noteworthy was Doe’s performance.

The singer with the sonorous voice drew from a catalog full of Beat poetry influenced songs both with X — that released improbably excellent albums Alphabetland (2020) and Smoke & Fiction (2024) after a 27 year break in recording — as well as his more folk and country solo work.

He also sprinkled a marvelous selection of covers into a 90-minute set. After his own neo-noir “The Losing Kind,” Doe sang the song that inspired it, Merle Haggard’s “I Can’t Hold Myself In Line.”

Interpretations of Nick Lowe, Jimmie Dale Gilmore, Joni Mitchell, Fred Neil, and José López Alaves followed, along with the unlikely piece de resistance: a gorgeous, deeply moving take on Harold Arlen and Yip Harburg’s “Over the Rainbow.” Judy Garland, eat your heart out.

X belongs in the Rock and Roll Hall of Fame.

John Doe plays Levon Helm Studio in Woodstock, N.Y. on Sunday, before heading west to tour with Bob Dylan and Lucinda Williams. Noteworthy shows coming up at John and Peter’s include EYEHATEGOD on May 23 and The Doom Stompers and Heavy The Beat on May 24.

John and Peter’s Place, 96 S Main St., New Hope, Mon.-Fri., 11:30 a.m. - 2 a.m., Music at 9 p.m. johnandpeters.com

— Dan DeLuca