Steve Jobs
Danny Boyle’s biopic about the Apple mogul is an intensely irritating film about an intensely irritating man.
An excellent cast meets an excellent screenplay but somewhere down the line the two never gel consistently enough to create a substantial whole. Certainly Michael Fassbender in the title role alongside an almost unrecognisable Kate Winslet, as Joanna Hoffman as his right hand and anchor person, buoy the whole film ably assisted by Seth Rogan, Jeff Daniels and Katherin Waterston in supporting roles
. Meanwhile Aaron Sorkin’s dialogue rivals his work in ‘The Social Network’ about that other socially inept genius Mark Zuckerberg with its relentless pace and offhand witticisms and observations.
The film revolves around d three pivotal moments in the Jobs legacy: the launches of the Macintosh in 1984, the Cube in 1988 and the iMac in 1998 when the global denomination of Apple really began. Each scene is set with fraught background details as the personal and business worlds of Jobs often collide, collapse and restructure around the unveiling of his latest creations and efforts.
How these different facets of Jobs interact and impact on his decisions and reactions reveals the driven nature of the man and how very often genius swims upstream alone against difficult currents whilst those around him are content to drift downstream at a leisurely pace. Belief in oneself is the central message of this film and if it pisses everyone else off in the process then that is merely collateral damage.
There are many fraught and intense confrontations throughout the film and often it feels as if you are actively involved in the arguments and the whole thing becomes quite exhausting. I am unsure whether I can wholeheartedly recommend this film to anyone despite its merits as often the pacing and high-octane delivery becomes a little too tiring and relentless.
I can however recommend that you don’t attend with anyone who has a short attention span and finds the intricacies of a sophisticated and demanding dialogue difficult, as you may find it accompanied by much seat shuffling, sighing and exaggerated yawning as I was. Sorkin’s script and Fassbender’s portrayal however are beyond reproach however irritating other aspects of the film may be and these factors alone make it a decent watch if not a wholly satisfying one.

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