Or rather, three significant time frames, each one centered around the public launch of a Jobs-created product that would change the course of his career and thus the course of global technology.
Inspired, in the loosest possible sense of the word, by Walter Isaacson’s massive and authoritative Jobs biography, Sorkin’s screenplay has mastered the art of conveying a character’s essence - not by delivering the most comprehensive account possible (Pixar, Xerox and cancer are just a few topics that go unmentioned), but by compressing the most relevant data into one significant time frame. 9 release as the only Steve Jobs movie the broader public will really need or want to see to even compare it to “Jobs,” the Ashton Kutcher-starring indie mediocrity that came and went in 2013, would be as unfair as likening the Star Child to one of those apes wandering around at the beginning of “2001.” Indeed, it’s a measure of the film’s chutzpah that “Steve Jobs” at times seems to be channeling Kubrick’s science-fiction touchstone (which is duly mentioned here) by developing its own sophisticated, multi-part structure - one where every new chapter marks a major evolutionary leap forward, and where Jobs himself is the cold, towering obelisk dictating humanity’s steady onward march toward technological supremacy. Straining like mad to be the “Citizen Kane” (or at least the “Birdman”) of larger-than-life techno-prophet biopics, this is a film of brash, swaggering artifice and monumental ego, a terrific actors’ showcase and an incorrigibly entertaining ride that looks set to be one of the fall’s early must-see attractions.ĭespite the cinematic cottage industry that has recently sprung up around Jobs’ legacy (including Alex Gibney’s fine documentary “Steve Jobs: The Man in the Machine”), Universal should have little trouble establishing its Oct. Blowing away traditional storytelling conventions with the same withering contempt that seems to motivate its characters’ every interaction, “ Steve Jobs” is a bravura backstage farce, a wildly creative fantasia in three acts in which every scene plays out as a real-time volley of insults and ideas - insisting, with sometimes gratingly repetitive sound and fury, that Jobs’ gift for innovation was perhaps inextricable from his capacity for cruelty. For those who subscribe to the generally held view that the late co-founder of Apple was both an iconic visionary and a monster with a silicon chip where his heart should be, rest assured that writer Aaron Sorkin, director Danny Boyle and star Michael Fassbender have given their subject the brilliant, maddening, ingeniously designed and monstrously self-aggrandizing movie he deserves.
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