Set backstage at three iconic product launches and ending in 1998 with the unveiling of the iMac, Steve Jobs takes us behind the scenes of the digital revolution to paint an intimate portrait of the brilliant man at its epicenter.
With Sorkin and Boyle at the helm, I had to see the latest Steve Jobs movie despite having little to no interest in the subject. Boyle is a stylish director who nevertheless transforms himself to suit whatever film he's working on, and I love Sorkin's writing. In biopic material, he seems particularly adept at finding the themes that emanate from biographical data. In this case, he plays Jobs AS the Mac (a closed system incompatible with others) and uses a daughter born out of wedlock to riff on the concepts of creator/father/destroyer (and notably, his relationship to co-creators in both cases is toxic). I found Sorkin's idiosyncratic patter a lot more noticeable here than in previous films, so critics of his television work might get annoyed. But I think the clever three-act structure - essentially three furiously-paced sequences set before one of his big launches - the unflattering portrayal that doses the Church of Jobs with some perhaps long overdue reality, and the strong performances by all involved, make this one of the box office's neglected gems, whose biggest problem is that it comes late to the Jobs biopic phenomenon.
7 years ago
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mfjorge
I expected a over the top worship of Steve Jobs and got something very different. It had a stage play like feel. I really enjoyed this.
Youssef Othman
Very smooth, very good storytelling. Michael Fassbender was excellent.
A very good biopic overall.
Siskoid
With Sorkin and Boyle at the helm, I had to see the latest Steve Jobs movie despite having little to no interest in the subject. Boyle is a stylish director who nevertheless transforms himself to suit whatever film he's working on, and I love Sorkin's writing. In biopic material, he seems particularly adept at finding the themes that emanate from biographical data. In this case, he plays Jobs AS the Mac (a closed system incompatible with others) and uses a daughter born out of wedlock to riff on the concepts of creator/father/destroyer (and notably, his relationship to co-creators in both cases is toxic). I found Sorkin's idiosyncratic patter a lot more noticeable here than in previous films, so critics of his television work might get annoyed. But I think the clever three-act structure - essentially three furiously-paced sequences set before one of his big launches - the unflattering portrayal that doses the Church of Jobs with some perhaps long overdue reality, and the strong performances by all involved, make this one of the box office's neglected gems, whose biggest problem is that it comes late to the Jobs biopic phenomenon.