This is hardly a surprise, as the company also objected to Alex Gibney's non-fictional portrayal of Jobs's contradictions. Apple, forever protective of its legendary CEO, has already denounced the movie. The filmmakers have aimed for psychological realism while playing fast and loose with the biographical details. Combined with Danny Boyle's dynamic, almost expressionist use of camera angles and close-ups, viewers are never given the chance to step back and reflect on the unlikely nature of many scenes. It may be true that people are always pacing and arguing in Sorkin's films, but it's a routine that keeps us glued to the screen. Apart from a few brief flashbacks all the personal history and psychologising is contained within the dialogue, as Jobs trades insults with old friends such as Wozniak and Andy Hertzfeld (Mark Stuhlbarg) and jousts with John Sculley (Jeff Daniels), who ousted him as Apple CEO and was ousted in turn as the company's fortunes dived. We get a taut, punchy narrative that might almost be a stage play.
#STEVE JOBS 2015 FULL MOVIE MOVIE#
Taut and punchyīy basing the movie around the three product launches, Boyle and Sorkin avoid the tedious scene-setting and biographical detail that cluttered up the 2013 movie. In Stern's film this character was all but invisible. Joanna is loyal to the point of idolatry, but seething with frustration. This is a great, uncharacteristic role for Winslet, who has to play an assertive second fiddle. The person who holds it all together is his PA, Joanna Hoffmann (Kate Winslet), who acts as trouble-shooter and life coach – even if Jobs is unwilling to take her advice. He is ruthless, selfish and unconcerned what others think of him. He refuses to acknowledge the work of colleagues upon which his own success is founded. We see Jobs denying the paternity of his daughter Lisa (Makenzie Moss) and withholding support money from her mother Chrisann (Katherine Waterston) when money is not an issue. He may have been a visionary, inspirational leader but was also, as his friend Steve Wozniak (Seth Rogen) puts it succinctly, "an asshole". There is a good deal of poetic licence in these impossibly tense pre-launches, but more drama than one would have imagined possible from a computer sales pitch.Įven though he is examined microscopically this movie, Jobs remains an enigma. It's stressful to watch let alone imagine what is going through Jobs' mind. As the clock ticks down to a crucial presentation in front of thousands of journalists and industry insiders, he is set upon by family members, friends and colleagues. Suppliedīefore each event Jobs is confronted with a raft of problems – personal, technical and professional. Michael Fassbender gives a persuasive performance as Steve Jobs, but the film focuses on Jobs' abrasive personality rather than his vast achievements. Along the way we watch Jobs morph from an intense jerk who wears a blazer and a bowtie, to an intense jerk in trademark black polo neck and jeans. The key is the ingenious idea of structuring the movie around three product launches: the Macintosh in 1984, the NeXT cube in 1988, and – finally and triumphantly – the iMac in 1998.
Danny Boyle's Steve Jobs, with a script by Aaron Sorkin and Michael Fassbender playing the lead, is as much of an advance on the previous model as the iPad was on the Newton. Jobs (2013) by Joshua Michael Stern, with Ashton Kutcher in the title role, was a clumsy, schematic affair. Since his death there have been at least six documentaries and two feature films.
"I think we were weeping for the loss of future products," was Gibney's diagnosis.įor better or worse, Steve Jobs, who took Apple from the brink of bankruptcy and made it into the most successful company in the world, has become an icon of our age. It seemed remarkable that so many people were in tears for a man they'd never met. In his documentary of last year, Steve Jobs: The Man in the Machine, Alex Gibney analysed the worldwide outpouring of grief that followed the death of the tech guru in 2011.