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The dialogue he writes and the pacing of his storytelling is second only to Christopher and Jonathan Nolan in my opinion. However they had underestimated Aaron Sorkin and soon after its release realised their mistake. I remember before 'The Social Network' came out people couldn't imagine how you could make an interesting screenplay out of the creation of Facebook. And regardless of what others say, I think it gives the most humane portrayal of Jobs I've seen on film. So don't approach this like a documentary, instead approach it like the art it was meant to be and I think you'll enjoy it greatly.
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Of course, if Jobs had even one product launch like the ones in the film with everybody he's ever known approaching and reproaching him, Jobs would have had security like the secret service at every launch afterwards.
STEVE JOBS 2015 AND TORRENT MAC
The scene towards the middle of the film where Sculley and Jobs have it out is a work of art in itself of dialogue, editing, and acting, and the time shifting between the present and various pasts of their relationship is expertly done.Īs for the plot? It takes place entirely at three product launches - the Mac in 1984, the NeXT computer in 1988, and the iMac in 1998, and the central theme is Jobs' relationship with his daughter Lisa, the paternity of whom he did not come to terms with for years. Jeff Daniels as the conventional CEO John Sculley, recruited by Jobs to deal with a most unconventional visionary in a pioneering industry, absolutely nails the part. He blew me away as he stood toe to toe with Fassbender in a show down that took my breath away with its intensity, and he stole the entire scene from Fassbender, proving he is much more than just the comic relief of Judd Apatow films. As for Seth Rogan as Steve Wosniak, what can I say. Hoffmann retired before Jobs went back to Apple. She acts as his conscience, his anchor, yet she actually wasn't there for a third of the film. Kate Winsett gave an Oscar worthy performance as Joanna Hoffman, Jobs' marketing expertise and confidante, if he had any confidante at all. Why? Because every incident portrayed sounds EXACTLY like something Steve Jobs would have done or said even if the entire incident never happened. Yet, by the end of the film you feel that you are looking right at the man. in that you can argue about almost every stroke in the painting, yet when you stand back a few feet from the work, you realize that this is a more accurate portrayal of Steve Jobs than any photograph could be.įor example, Michael Fassbender looks nothing like Steve Jobs did at any point in his adult life, sounds nothing like Steve Jobs did. They actually dreamed of becoming serious rock stars, not teenage idols who were pictured in glossy magazines. But was it really? All three answer this question with a slight doubt. The country was primarily known for "Zero Points" in the Eurovision Song Contest and had never produced a band that was famous beyond its borders. In Norway in the 70s that was an impossible and childish dream. And like many teens they dreamed of becoming world-famous rock musicians. Something is totally rotten between them, but what? The two blondes in the band - Magne and Paul - formed their first band together at the age of 10. Our mission is to find out why these three, friends since childhood, have become so cold with each other. We watch Morton Harket, Magne Furuholmen and Paul Waaktaar very closely with our camera. They travel in black Mercedes limousines - each in its own - stay separately in luxury hotels and have separate dressing rooms in the backstage area every night. They have fans in every age group and play in huge sold-out arenas around the world.
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STEVE JOBS 2015 AND TORRENT MOVIE
What's unfortunate about a movie like this is it plays out like a biography to try and make us feel a certain way about a man instead of honing in on some of the incredible social accomplishments that were created from it.Three musicians, all in their fifties, are back on tour. What's great about a film like this is we get to see the abstract, yet monstrous genius of a man who only knew black or white. But, to fault Sorkin a little, there is a lot of talking. With Aaron Sorkin at the helm of the writers' table, we get some solid, witty and biting dialogue delivered by the acting crew with some wit and pizzazz. We essentially get a look-in at how Steve Jobs morphed from 1984 to 1988 to 1998, and while Fassbender executes subtle differences in each year, it mostly feels like the same repeat scene three different times.
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While it rightly deserves to be praised for the performance Michael Fassbender (most notably) and company put in over the course of two hours on screen, a few faults lie within the one note it seems to continuously strike through the three 'chapters' we get to see the tech giant live his life.