Saturday, 14 November 2015



127 MB.

122 Minutes. Starring: Michael Fassbender, Kate Winslet, Seth Rogen, Katherine Waterson, John Ortiz & Jeff Daniels. Director: Danny Boyle.

Act One. 'Slumdog Millionaire' big-ticket, Oscar winning director Danny Boyle's book of 'Steve Jobs' begins with Silicone Valley being anything but 'Pleasantville' as 'Macbeth' and Magneto himself Michael Fassbender moves more than metal with his artificial intelligence. Following the optics of Noah Wyle's 'Pirates Of Silicone Valley' T.V. and Ashton Kutcher's 'Jobs' movie in his modern day Shakespearean moment as a select and click icon of our generation that believed he was like "Julius Caesar, surrounded by enemies". From magazines of our 'Time' to biography's by Walter Isaacson that this biopic screen-wrote by 'The Social Network' trending genius Aaron Sorkin is based on, much has been wrote and worked about the late co-founder of some of the millennials greatest machines for the moving mainstream. To think there has already been two films (both good no matter what some claim the truth is...Wyle and Kutcher's interpretations are as underrated as they are as leading men) about this tormented and tormenting genius and innovator, cursor cursing everyone the hell out and none of note about Microsoft maverick and former richest man in the world Bill Gates speaks code of volume for the legacy of controversy of Jobs. Some may think that's the reason despite critical, Oscar season campaign acclaim that this film has flopped like an old disk drive. Being pulled from the hardware of over 2000 cinemas in the United States for this hash-tag generations all American hero painted with as many stripes as stars. And you thought the first scene had enough problems getting the monitor of the Mackintosh to simply say hello whilst Steve had a job looking for the breast pocket of someone with the same size shirt to drive his disk into. Now on some silver screens all this isn't even friendly face welcome. Narcissistic? Computer says yes!

Know this though; the second act keeps the post, product launch stage trend going as Fassbender stages some dynamite dynamic drama for all the world and its players after bringing the theater of his magnificent 'Macbeth' to the multiplexes of all the world. Now the 'Shame' acting of a Marvel of an iconic 'X-Men' actor that can even best Sir Ian McKellen's 'Days Of Future Past' could finally become the 'Best Actor' the Academy of his career has been looking for, after almost winning the Oscar for almost making us hate him in his evil but epic '12 Years A Slave' performance. Here he flips between garage grunge and greying, weary soul patchy hairstyles so well, giving Jobs the same chameleonic treatment Kutcher did but with even more diverse drama as he soars, even though his black box computer can't take off like grounded flights. Even between failure after failure, Jobs shows his worth as the man that would eventually put over a thousand songs in our pocket with the iPod and swipe a legacy over to the iPhone generation that is the core of the Apple company today. Success doesn't come without struggle and our leading man has more of that in his mind than all those around him can handle. From a sensational and raw stressed Seth Rogen whose characters idea was claimed to be stolen, to an always as vivid as he is versatile Jeff Daniels who goes in the year of his comedy and 'Newsroom' career from 'The Martian' director of NASA, to the owner of the Pepsi generation and the man that fired Steve Jobs. Can you believe that? Watch this and you might. Like Kate Winslet's wonderful and maestro marketing executive in the close confides of a sensational secretary like role to the woman who should really be by his side, the mother of his child (Katherine Waterson following her influential turn on the similarly classically and vividly shot 'Inherent Vice' picture)...and let's not forget the kid herself. Jobs daughter, the emotional heart and soul of a story otherwise lost in the firewalls of something as romantic as technology can and can't get. Like Kindles will never be books, "computers aren't paintings".

"F### you"! Proclaims Jobs to anyone who challenges his art as merely commerce, justifying the high margins of his price as he finally hits with the revolutionary iMac in the final curtain of these press conference lead up and ins that is quite the act itself. Boiled by Boyle to simmering script and in-sync delivery perfection, this movie is a quality product no question, from the journals of GQ writer John Ortiz to the best of Hollywood's best all in your pocket like your favorite albums. This film has it all at its devices, from Dylan lyrical exercise to the writing of a real but respectful story...even if it is beyond the command of Jobs families desires and wishes. Still, you best believe the Jobs family have the right to complain with what they're seeing here whatever your lead to believe in the subject of high-profile controversy. Yet, you also best believe this film has a point to and it's making it in a visionary way with it's act by act look behind the scenes as all our actors set the motherboard stage for our monitoring consideration. A lot have made theirs from Ashton to Noah and the arc of rumored talent from Clooney to DiCaprio, Bale to Cooper, Matt Damon and Ben Affleck and almost everyone expect Ryan Gosling who hilariously compared the New Balance of Steve Carell's jeans and sneakers look to the Apple co-founders dress sense in the 'Crazy, Stupid Love' film. Still, once the leopard leading man Fassbender changes his spots to the turtleneck and sweats of Steve, through his glasses you can see he's the perfect look in this spectacle. The task of playing Jobs is the apple of  this leading mans 'i'. With bark and bite, Michael gets to the core of Steve so much so you won't want to swipe past this. This is more than Fassbender and his teams idea however as Boyle and Sorkin take Isaacson's cinder brick, monitor of a book and turn it into three classic chapters. This big-three really is the Big Apple. Jobs a 'goodun'! TIM DAVID HARVEY.

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