Although it’s already fading from my memory (unsurprising that this screenwriter’s most noteworthy credit is that horrid Amy Winehouse biopic), you could still do much worse things with biopic conventions. Especially with Michael still being a fresh cultural object, it’s refreshing to see a biopic depict its primary subject as a nuanced and occasionally destructive individual, even if it might contradict the mythic legacy people are accustomed to by the time its subject is biopic-ready. Achieving this aspect while effectively…