We’ve been here before. In 2013, Ashton Kutcher suited up in bad beards and turtlenecks to portray Apple icon Steve Jobs in a dreadful bio-pic (“Jobs”), which trafficked in wheezy melodrama and suffered a blurring of intent as it attempted to manage the man’s myth without addressing reality. “Steve Jobs” isn’t a rehash of the earlier picture, taking a more theatrical route to explore the complexity of the subject and his corrosive ways with every human on Earth.Download Steve Jobs movie in DVD, Director Danny Boyle and screenwriter Aaron Sorkin combine forces to deliver a slingshot ride around the Apple universe, emerging with more questions than answers. “Steve Jobs” doesn’t take in the enormity of a life, it merely cuts down a few biographical moments and studies the rings, working to distance itself from other artistic endeavors by disrupting a traditional timeline assessment of developing character.
In 1984, Steve Jobs (Michael Fassbender) is ready to share the Macintosh home computer with the world, waiting impatiently for press to fill an auditorium and take in the future of technology. At his side is assistant and marketing manager Joanna Hoffman (Kate Winslet, having trouble maintaining a Polish accent), who works tirelessly to contain the chaos of a possibly disastrous launch. While Andy Hertzfeld (Michael Stuhlbarg) struggles with technical errors,Download and Watch Steve Jobs Movie, Apple co-founder Steve Wozniak (Seth Rogen) asks Jobs to consider sharing credit for the company’s rise. Backstage, Jobs is confronted by ex-lover Chrisann Brennen (Katherine Waterston) and his five-year-old daughter, Lisa (Makenzie Ross), who’ve come to solve monetary and paternity issues. And there’s tension with Apple CEO John Sculley (Jeff Daniels), a traditional businessman who’s confused by Jobs’s exclusive concentration on marketing and design. Nearing the turning point in his professional and personal life, Jobs is restless and abusive, with a fixation on total emotional and professional domination that follows him to similar launch events in 1988 and 1998.
The source material for “Steve Jobs” is Walter Issacson’s celebrated 2011 biography, which has been picked apart by Sorkin to fit into his defined three act structure. There are no early years, no rise of Apple, and no introductory moments with the players. The movie simply takes history and wedges into the years 1984, 1988, and 1998, identifying three critical moments in the Jobs legacy where the leader was about to introduce new technology to the world,Download Steve Jobs movie hq, only to have trouble conquering his personal issues with others. There’s intimacy here that’s captivating, with only a few flashbacks breaking up backstage meltdowns, as most of “Steve Jobs” takes place in dressing rooms, hallways, and theaters. It’s a casual war zone that defines the subject’s inherently theatrical nature, finding himself most comfortable as the center of attention, using real and imagined power to cut though lackeys, family, and friends with alarming hubris that’s catnip to Sorkin’s furious screenwriting habits.
Once “Steve Jobs” starts, it doesn’t stop, taking off like a rocket with raging dramatic energy, giving Boyle something to shoot with a script that’s entirely exposition and heavy with monologues. Again, the feature isn’t very cinematic, feeling more at home on the stage as the characters broadly communicate their fears and desires,Download Steve Jobs movie DVD, with Jobs depicted with Shakespearean ferocity, lording over his tattered computer kingdom with broad strokes of megalomania and denial. The question of Lisa is most pressing to Sorkin, establishing the young girl as a thorn in Jobs’s side, watching him avoid responsibility mostly out of spite, trying to punish Chrisann for a sexual mistake he regrets. The Apple court is managed in the same fashion, with Wozniak and Hertzfeld depicted as spineless types who couldn’t match their contemporary, while Hoffman is the long-suffering angel who works to soften Jobs’s lifelong commitment to being a total bastard. Sculley is the father figure who doesn’t have faith in Jobs, but he can’t quite quit him, stunned by his intelligence.
The personalities that populate “Steve Jobs” are only sketches, and while Sorkin packs his breathless paragraphs with details and motivations, he can’t overcome the strange structure of the effort, which emphasizes moments, not a life. Everyone around Jobs is a simplistic punching bag (Chrisann goes from a distraught mama bear to operatic kook without warning), and two hours of verbal repetition begin to wear thin, leaving Boyle to tart up the endeavor with flashes of style,Download Steve Jobs movie all quality, a modest amount of overtly visual storytelling, and the use of three different filmmaking aesthetics (16mm for ’84, 35mm for ’88, and digital for ’98) to help manage the eras. “Steve Jobs” looks great and the general whirlwind ambiance of the feature is exciting at times, helping to secure attention when it isn’t earned. However, Sorkin isn’t exactly breaking new ground here, with much of the movie resembling his other pictures, most notably “Moneyball” and “The Social Network.”
There’s bravery here that’s blunted in the end. Jobs is openly depicted as a callous monster of a man who favored design over computing performance, shunning outsiders who don’t play by his rules, making a sport out of belittling others. However, this honesty only carries so far, as Sorkin and Boyle soften the blow in the final act, struggling to turn Jobs from an ego-drenched ghoul into a better man and concerned father in the 1998 segment. Hoping to add a sense of growth to the journey,Download Steve Jobs HD, the pair cheats their way to a proper close. Sympathetic portrayals of multifaceted people aren’t a priority to the production, making the left turn into tears dishonest to the subject and confusing to the movie. Perhaps Apple fanatics already knowledgeable about the particulars of this world will find more to explore in “Steve Jobs,” and Fassbender delivers powerhouse work as the titular mastermind, unstoppable with a game supporting cast. However, as identification of mental illness goes, the picture doesn’t deliver a recognizable Steve Jobs, just a highlight reel of his acrimonious ways.
If I hadn’t seen Alex Gibney’s documentary Steve Jobs: The Man Inside The Machine earlier this year, I’d probably be a little more enchanted by Danny Boyle’s Hollywoodized dramatization, Steve Jobs. Written by the quick-witted Aaron Sorkin, this take on Apple’s infamous mogul is a surprisingly brief glimpse into three major turning points in Jobs’ career, focusing on the strained relationship between a man and the child he refused to acknowledge as his own daughter.Download Steve Jobs Movie HD, Where Gibney made us question Jobs’ ethics, and where filmmaker Joshua Michael Stern sought out to chronicle Steve’s rise to power in Jobs, Sorkin fixates on the titular character’s capacity for human emotion, boiling a jagged persona down to what should be a meaningful parental bond. This is the human side of Jobs we finally get to explore – albeit a more glitzy, crowd-pleasing take.Steve Jobs strikes at three pivotal moments in the inventor’s career – his 1984 presentation of the Macintosh, his 1988 unveiling of Next’s black cube, and his 1998 unveiling of the iMac. We never leave any assembly venue, and all his interactions take place in the leading moments to what we remember as landmarks in Jobs’ career.
He encounters the likes of Apple CEO John Sculley (Jeff Daniels), on-and-off partner Steve Wozniak (Seth Rogen), estranged mother to his supposed child, Chrisann Brennan (Katherine Waterston), and a few more affiliates, all under the astute guidance of Joanna Hoffman (Kate Winslet). We watch as his demeanor changes – or doesn’t change – over time, from his treatment of Lisa (played by the trio of Makenzie Moss, Ripley Sobo, and Perla Haney-Jardine), to his tumultuous conflict with John Sculley.Download Steve Jobs Movie On DVD, It’s all about how Steve Jobs adapts to each hurdle, brought to life by Michael Fassbender’s transformation into the Silicon Valley God.Yet, this is exactly the Jobs retelling you’d expect from a cast led by Michael Fassbender, a man who never truly looks the role. He’s a phenomenal actor, and possesses the commanding presence that Jobs demanded, but from the very first shot of a physically-built Fassbender attempting to hide his rugged, cut physique under a white t-shirt, immersion dissipates. The cast are mere players bringing Steve Jobs to life in a way we absolutely want to see, but only from afar, and complete with schmaltzy sentimentality that’s sweet, yet somewhat unfitting. Truth seems to become translated into an obviously plotted trajectory, just as the most crowd-pleasing efforts have compromised in the past.
Sorkin balances “Steve Jobs the monster” with “Steve Jobs the titan,” clearly striking upon a few prolific stories that highlight Jobs’ obvious character flaws. Fassbender keeps a chip on his shoulder much like Jobs did, and remains somewhat robotic in what should be heart-tugging moments worthy of a good emotional breakdown. The way he delivers soul-crushing blows to a girl of only five years is horridly moving, but Fassbender makes the unconscious attacks somewhat sympathetic,Watch Steve Jobs Online, as we begin to care for a man who’d rather birth a computer than a child. Fassbender is the glue of Steve Jobs, and while I have physical qualms, there’s no denying the powerfully tragic performance he’s able to achieve as a man with unlimited power, and a complete indifference to social perception.My problem with Steve Jobs is that it never tries to be anything more than touching remembrance of a man without any exploration of darker secrets already made to be public knowledge. I understand the necessity to remain positive and hopeful, circling back to complete an arc that starts with Jobs avoiding fatherhood through mathematical calculations, but Jobs’ questionable business maneuvers are glossed-over far too often. There’s more to the man in Sorkin’s screenplay, and we don’t get to meet those overlooked sides.
Jobs likens himself to Julius Caesar, remarking that everyone is out to betray him. He’s originally the cause of his own demise at Apple, as he throws away what could have been many productive years of collaboration with John Sculley. Instead, Jobs lets his mentor seal a doomed fate by his lonesome (the Newton, anyone?), and has the gall to quip “We could have done great things,” acknowledging what could have been given a swallowing of pride. This is the Jobs who demands to be immortalized by Fassbender, yet family dramatics become the relegated focus instead.Don’t mix my words – Steve Jobs is an engrossing take on the dynamic between Steve and Lisa, and how their interactions evolved over time, but it doesn’t paint a full picture of Jobs, or provide any new insight into his stunted universe.Download Steve Jobs Movie, He was a man against the masses, from Wozniak’s demands to be recognized, to Sculley’s dismissing of his genius, but we’re restricted to a family-friendly angle that warms the soul, yet leaves so much unsaid.Boyle is a brilliant filmmaker, and his energetic touches can be felt through colorful title cards and multiple shifts in camera positioning, but it’s just not enough to distract from a tangent that’s like a heat-seeking missile honed-in on our emotions. You can find information about Jobs’ shady dealings just about anywhere else, and that’s what Sorkin wants you to do, because there’s no room for such details in a screenplay ripe with intelligence, drama, and tyrannical obsession. The film is a wonderful glimpse into the life of Jobs – it’s just not the whole picture.