Sorkin’s heavily heightened sense of drama works best when the stakes are equally aligned but, despite the film constantly informing you of just how incredibly important everything all is, it’s disappointingly difficult to truly care about what’s taking place.
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Steve Jobs the movie is a lot like Steve Jobs the person: astonishingly brilliant whenever it’s not breaking your heart.
While at times too over-the-top and operatic for its own good, those same flawed ingredients echo the rough edges that define the movie's iconic subject.
It’s no discredit to Steve Jobs, Danny Boyle’s propulsive and iconoclastic biopic of the digital-revolution visionary who democratised personal computing, that it’s a dispiriting study of capitalistic self-aggrandisement – one that leaves a sense of unease despite its ironically upbeat ending.
Sorkin’s voice dominates the discourse and the film rarely has a chance to catch its collective breath. While you have to give the duo credit for attempting an unconventional structure, it’s a choice that arguably only works thanks to the contributions of a stellar ensemble.
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.
This is a swift and searing attempt to pull back the curtain on Jobs and, in the process, investigate the relationship between the myth and the man.
A deliriously quick-footed and orchestrally pitched character study, Steve Jobs is an ambitious, deeply captivating portrait of the high cost of genius.
The screenwriter's signature verbal-diarrhetic dialogue allows for a nonstop blaring of actorly chops that, like the movie at large, is nothing if not committed.
Racing in high gear from start to finish, Danny Boyle’s electric direction tempermentally complements Sorkin’s highly theatrical three-act study.