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George Michael: Freedom
A frank and honest account of George Michael's professional life and career, made by the man himself with various artists adding to the narrative.
21 September 1972, Burnage, England, UK
25 March 1947, Pinner, Harrow, Middlesex [now London], England, UK
7 April 1939, Tenterden, Kent, England, UK
22 May 1970, Streatham, London, England, UK
13 October 1925, Grantham, Lincolnshire, England, UK
7 November 1957, The Bronx, New York City, New York, USA
4 September 1975, St. John's Wood, London, England, UK
25 June 1963, Bushey, Hertfordshire, England, UK
January 26, 1963 in Finchley, Surrey, England, UK
10 May 1965, St. Catharines, Ontario, Canada
24 April 1952, Arcueil, Val-de-Marne, France
October 23, 2017
For all of Freedom: George Michael I just didn't know what I was watching.
October 25, 2017
Freedom is a great work of documentary filmmaking: stylishly shot, narratively gripping and backed by string arrangements composed by Michael himself
October 17, 2017
So preposterous perhaps, but also honest and brilliant - the film, and the man.
October 20, 2017
As a narrator, Michael was as you'd expect: smart, self-deprecating, with an underlying melancholy.
October 20, 2017
It skirted around George's chronic drugs problems, and made no mention of the circumstances surrounding his death. But it also neglected to mention that he was an endlessly generous man, who gave away millions without asking for recognition.
October 20, 2017
Essentially a glorified sizzle reel stringing together interviews and TV performances any serious fan is likely to have already seen, the documentary does little to deepen our understanding of Michael or his music.
October 19, 2017
While the pop singer, as you would expect, doesn't dig too deeply into the more scandalous aspects of his life, the documentary isn't simply self-serving, either.
October 27, 2017
I tried to watch without prejudice, but in the end I felt I'd just been watching a supersized commercial.
October 23, 2017
The film wanted for grit, and for context. Where we needed Johnny Marr, we got only James Corden. Where we could have done with a Simon Reynolds-style figure, we had to make do with a nodding Mark Ronson.
October 23, 2017
The documentary's heavy emphasis on the early-to-mid '90s has the marked feel of someone taking stock of their memories and curating their desired legacy. Which, of course, is the prerogative of an authorized, posthumous, hour-and-a-half documentary.
October 20, 2017
[George Michael: Freedom] may have embraced hagiography at times, but it showcased a rare, compelling, self-effacing talent