by Cain Noble-Davies
Worth: $16.00
FilmInk rates movies out of $20 — the score indicates the amount we believe a ticket to the movie to be worth
Cast:
George Michael
Intro:
… a must-watch for George Michael fans, and a fantastic concert film in its own right.
There are many different circumstances that can turn a film into a lost film; it may have fallen through one of the many cracks between conception and public release, or gained mythical status from the hole it created from its lack of fruition. Unlike the varyingly wild stories behind Amazing Grace or The Day the Clown Cried or The Other Side of the Wind or even The Man Who Killed Don Quixote, the reason that George Michael: The Faith Tour joins that pantheon, is both mundane and understandable.
Preceding the actual concert itself is short film Finding Faith, directed by Mary McCartney. Splicing a previously-unheard interview with George Michael with still photos by Herb Ritts (along with a brief look at the behind-the-scenes for the ‘Faith’ music video), Michael’s voice-over explains his mindset concerning his celebrity status and his relationship with the industry. Even through the static presentation, hearing his apprehension about his career, knowing the personal and professional stresses he’d end up facing, it’s easy to see why he would be protective of this footage.
Of course, apprehension will undoubtedly be the furthest thing from the audience’s mind while watching this finally-released concert from 1988. Getting to see a pop star at the peak of their fame is the stuff that dream documentaries are made of, and while Finding Faith ultimately serves as the only real narrative element of this package, there’s an intriguing undercurrent to the energy that George Michael shows on that stage for the entire show. Belting his heart out about love, desire, and fear of admitting them for the emotional backlash they could bring, his conviction and passion morphs the show into something defiant and proud; a singer/songwriter who climbed his way to the top off the sweat of his five o’clock shadow, at a time when his true existence was considered criminal. Taking footage specifically from the Paris stops of the tour adds to that subtext, showing him freely expressing that joy in a place where he is allowed to be his true self.
It also helps that the show is so fun to watch. Co-director Andy Morahan had a lengthy history with filming George Michael in his element, with many of their music video collaborations taking the form of filmed concerts anyway, and that holds true here. He keeps up with every step of the performer’s breathless energy, and he gives space for the raw theatre of the stage setup, like a solitary spotlight enveloping MGeorge ichael for certain songs like his cover of Stevie Wonder’s ‘Love’s in Need of Love Today’. It is a bit odd that, of all of the backing band, only bassist Deon Estus gets specifically pointed out by name, especially when backing singer Lynn Mabry performs a proper duet for the encore. That said, seeing George Michael and Estus gyrate together in the lead-up to ‘I’m Your Man’ is simultaneously one of the funkiest and sexiest things on the big screen in 2026, and that encore duet of ‘Lady Marmalade’… forget watching it, just writing about it here resulted in goosebumps.
Honestly, one of the weirder parts of the viewing experience is the realisation that, while George Michael performing from his own catalogue is suitably powerful, his choice of covers and delivery is on a whole other level. ‘Faith’ still delivers that Elvis rockabilly energy, and the monogamy anthem ‘I Want Your Sex’ slaps both times it shows up… but getting to see George Michael absolutely crush ‘Play That Funky Music’ is worth the ticket price on its own.
George Michael: The Faith Tour is a must-watch for George Michael fans, and a fantastic concert film in its own right. The footage remastering isn’t perfect (George Michael looks like he’s rendered in pointillism at one point), and there are nits that could be picked about the show itself as far as who and what gets highlighted (a few too many shots of concertgoers waving at the camera), but as a full hip-shaking showing of George Michael’s special blend of blue-eyed funk and soul, it presents a late, great talent completely in his element. As true now as it was nearly forty years ago, if you need to pick your heart up off the floor, he’s your man.
