Steve Jobs takes us behind the scenes of the digital revolution, to paint a portrait of the man at its epicenter. The story unfolds backstage at three iconic product launches, ending in 1998 with the unveiling of the iMac.
The story of Ray Kroc, a salesman who turned two brothers' innovative fast food eatery, McDonald's, into the biggest restaurant business in the world, with a combination of ambition, persistence, and ruthlessness.
Director:
John Lee Hancock
Stars:
Michael Keaton,
Nick Offerman,
John Carroll Lynch
As Harvard student Mark Zuckerberg creates the social networking site that would become known as Facebook, he is sued by the twins who claimed he stole their idea, and by the co-founder who was later squeezed out of the business.
Director:
David Fincher
Stars:
Jesse Eisenberg,
Andrew Garfield,
Justin Timberlake
The NSA's illegal surveillance techniques are leaked to the public by one of the agency's employees, Edward Snowden, in the form of thousands of classified documents distributed to the press.
Director:
Oliver Stone
Stars:
Joseph Gordon-Levitt,
Shailene Woodley,
Melissa Leo
In 1974, high-wire artist Philippe Petit recruits a team of people to help him realize his dream: to walk the immense void between the World Trade Center towers.
Director:
Robert Zemeckis
Stars:
Joseph Gordon-Levitt,
Charlotte Le Bon,
Guillaume Baillargeon
During the Cold War, an American lawyer is recruited to defend an arrested Soviet spy in court, and then help the CIA facilitate an exchange of the spy for the Soviet captured American U2 spy plane pilot, Francis Gary Powers.
Based on the story of Micky Ward, a fledgling boxer who tries to escape the shadow of his more famous but troubled older boxing brother and get his own shot at greatness.
After a stint in a mental institution, former teacher Pat Solitano moves back in with his parents and tries to reconcile with his ex-wife. Things get more challenging when Pat meets Tiffany, a mysterious girl with problems of her own.
Director:
David O. Russell
Stars:
Bradley Cooper,
Jennifer Lawrence,
Robert De Niro
His passion and ingenuity have been the driving force behind the digital age. However his drive to revolutionize technology was sacrificial. Ultimately it affected his family life and possibly his health. In this revealing film we explore the trials and triumphs of a modern day genius, the late CEO of Apple inc. Steven Paul Jobs.Written by
Anonymous
The film takes place in 1984, 1988, and 1998. See more »
Goofs
Backstage before the Macintosh launch in 1984, Steve Wozniak excitedly tries to describe to Steve Jobs the size and energy of the crowd in the auditorium. He struggles to come up with a suitable comparison and Jobs eventually informs him that he can't wait for Woz to come up with a metaphor. As Wozniak had used the work "like" several times in his failed attempt, the comparison would have been a simile, which is a kind of metaphor. See more »
Quotes
Steve Jobs:
There are people 'round here, man, including a member of the press.
Steve Wozniak:
I see him.
Steve Jobs:
Woz...
Steve Wozniak:
The top guys, the ones who are getting laid off.
Steve Jobs:
Listen, okay? Last year Apple lost one billion dollars. I don't even know how that's possible. You were less than 90 days from being insolvent. I had three different accountants try to explain it to me. The whole place has to be streamlined.
Steve Wozniak:
Start with two of the accountants.
Steve Jobs:
I started with the Apple...
Andrea Cunningham:
[to the member of the press]
Joel, could you come off stage? We're ...
[...] See more »
Crazy Credits
The film's title is never shown in the opening or closing credits. See more »
There are dozens of things to truly admire about Danny Boyle's new film "Steve Jobs," from its ambition to tell a compelling story about a famous man and the structure in which it decides to tell it. The initial casting of Academy Award nominee Michael Fassbender was criticized initially because some felt he was "too good looking" to interpret a man, who was essentially a computer nerd. By the film's third sequence, Fassbender fully melts into the role and delivers one of his most visceral and intriguing performances to date. What's equally measured to his work is the talent and ferocity of Academy Award winner Kate Winslet, who falls into a sympathetic, determined woman, whose conscious is complicit in witnessing vile behavior. Aaron Sorkin's script is a multitude of words and one- liners, and is just plain smart in its dialogue exchanges between its characters. And finally, Boyle himself has never been more reserved in his direction, letting the words flow through the screen like a tractor trailer through a corn field. He sits on the sidelines, only letting instances of his vivacious direction show its head, which may or may not be a plus for Boyle enthusiasts. With all this said, it sounds like just a romp at the movies. Then why am I left underwhelmed by the final product?
We have to begin with the story's narrative structure. Choosing three set pieces in 1984, 1988, and 1998 to show the progression of the film's characters was genius. We see a growth and progression to not just Steve Jobs, but the surrounding players in which are a part of his life. The film is jam-packed with wall-to-wall dialogue, something that is truly impressive to watch unfold in the moment, but hard to take in as key information and thoughts are being displayed. I needed some more beats, to take in, and disengage from the moment, to properly move on to the next. Its a movie that clearly needs two or three viewings to get everything from it. This may be its ultimate downfall. "Steve Jobs" demands so much of its viewer. Our attention, dedication, and fearless endowment to the characters and the moment. I'm not entirely certain that general audiences can do that for 122 minutes. It becomes a double-edged sword. Is it okay that a movie such as this exists that will require us to give repeated participation to fully understand everything it has to say and reveal or does a film only deserve one shot to say everything it wants to say? I'm not sure I have a clear answer to that but I feel comfortable that general audiences members probably feel more towards the latter. Sorkin's work is compelling, with vibrantly preyed upon dialogue that simply sings through the theater. Its surely one of his most ambitious efforts of his career, and likely something that will forward his progression as a screenwriter, even in his later years.
From a performance standpoint, the film stands near the top of ensembles and individualized works seen in 2015. Fassbender approaches Jobs with a familiarity, like he knows the man. He finds sarcasm to be a second language, and repugnancy to be a way of life. Boyle and Sorkin do very little to have Jobs redeem himself, as he continues to pile on immorality with repulsive, revolting behavior that may make you think twice before talking to "Siri" ever again. I can't recall a Lead Actor candidate this unlikable in quite some time. It's a tour-de-force to behold, and one that will surely place near the top of Oscar ballots, but I'd be lying if I say I was looking forward to spending time with the character "Steve Jobs" again.
What Fassbender benefits immensely from, is a squad of supporting players, each making their individual mark. Winslet firmly plants her feet next to "Jobs," declaring herself as one of the finest actresses we have working today. Jeff Daniels as John Sculley is easily the most comfortable with the script's barrage of words. Daniels handles it with a defined purpose, delivering his best portrayal since "The Squid and the Whale." To a pleasant surprise, Seth Rogen as Steve Wozniak is tenderly inserted, and holding back all his normal tics and signature mannerisms that have made him a star. It's a welcomed entry into serious and challenging roles in the actor's future. Staggeringly underused but equally effective as each of her castmates is Katherine Waterston as Chrisann Brennan, Jobs' high-school girlfriend and "possible mother" to his daughter, played by three talented child actresses, Makenzie Moss, Perla Haney-Jardine, and Ripley Sobo. The dynamic and vigorous Michael Stuhlbarg as Andy Hertzfeld is a sensation to watch, and will go down as one of the key players by a select group of movie-goers. Let's just call this a SAG Ensemble lock, shall we?
Boyle's market for his bombastic colors and dance sequences are sure to miss them because they are non-existent. It's great to see him taking a different approach to his storytelling, though letting running text play a role should feel familiar for many. What I found dizzying was the camera work by Alwin H. Küchler, who in the spirit of "Birdman," has the audience constantly moving along with its constant walking characters. At one point, you want to just beg them to sit down and chill out for a second. Hats off to Elliot Graham's editing, who cuts to a commanding pace, even if more pauses would have been appreciated. What shines above all the technical merits is the score by Daniel Pemberton, orchestrating a symphony of music that swells in at the finest moments, and breathes new life into the work of composers everywhere. It was a truly remarkable piece of music that just flies off the screen.
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There are dozens of things to truly admire about Danny Boyle's new film "Steve Jobs," from its ambition to tell a compelling story about a famous man and the structure in which it decides to tell it. The initial casting of Academy Award nominee Michael Fassbender was criticized initially because some felt he was "too good looking" to interpret a man, who was essentially a computer nerd. By the film's third sequence, Fassbender fully melts into the role and delivers one of his most visceral and intriguing performances to date. What's equally measured to his work is the talent and ferocity of Academy Award winner Kate Winslet, who falls into a sympathetic, determined woman, whose conscious is complicit in witnessing vile behavior. Aaron Sorkin's script is a multitude of words and one- liners, and is just plain smart in its dialogue exchanges between its characters. And finally, Boyle himself has never been more reserved in his direction, letting the words flow through the screen like a tractor trailer through a corn field. He sits on the sidelines, only letting instances of his vivacious direction show its head, which may or may not be a plus for Boyle enthusiasts. With all this said, it sounds like just a romp at the movies. Then why am I left underwhelmed by the final product?
We have to begin with the story's narrative structure. Choosing three set pieces in 1984, 1988, and 1998 to show the progression of the film's characters was genius. We see a growth and progression to not just Steve Jobs, but the surrounding players in which are a part of his life. The film is jam-packed with wall-to-wall dialogue, something that is truly impressive to watch unfold in the moment, but hard to take in as key information and thoughts are being displayed. I needed some more beats, to take in, and disengage from the moment, to properly move on to the next. Its a movie that clearly needs two or three viewings to get everything from it. This may be its ultimate downfall. "Steve Jobs" demands so much of its viewer. Our attention, dedication, and fearless endowment to the characters and the moment. I'm not entirely certain that general audiences can do that for 122 minutes. It becomes a double-edged sword. Is it okay that a movie such as this exists that will require us to give repeated participation to fully understand everything it has to say and reveal or does a film only deserve one shot to say everything it wants to say? I'm not sure I have a clear answer to that but I feel comfortable that general audiences members probably feel more towards the latter. Sorkin's work is compelling, with vibrantly preyed upon dialogue that simply sings through the theater. Its surely one of his most ambitious efforts of his career, and likely something that will forward his progression as a screenwriter, even in his later years.
From a performance standpoint, the film stands near the top of ensembles and individualized works seen in 2015. Fassbender approaches Jobs with a familiarity, like he knows the man. He finds sarcasm to be a second language, and repugnancy to be a way of life. Boyle and Sorkin do very little to have Jobs redeem himself, as he continues to pile on immorality with repulsive, revolting behavior that may make you think twice before talking to "Siri" ever again. I can't recall a Lead Actor candidate this unlikable in quite some time. It's a tour-de-force to behold, and one that will surely place near the top of Oscar ballots, but I'd be lying if I say I was looking forward to spending time with the character "Steve Jobs" again.
What Fassbender benefits immensely from, is a squad of supporting players, each making their individual mark. Winslet firmly plants her feet next to "Jobs," declaring herself as one of the finest actresses we have working today. Jeff Daniels as John Sculley is easily the most comfortable with the script's barrage of words. Daniels handles it with a defined purpose, delivering his best portrayal since "The Squid and the Whale." To a pleasant surprise, Seth Rogen as Steve Wozniak is tenderly inserted, and holding back all his normal tics and signature mannerisms that have made him a star. It's a welcomed entry into serious and challenging roles in the actor's future. Staggeringly underused but equally effective as each of her castmates is Katherine Waterston as Chrisann Brennan, Jobs' high-school girlfriend and "possible mother" to his daughter, played by three talented child actresses, Makenzie Moss, Perla Haney-Jardine, and Ripley Sobo. The dynamic and vigorous Michael Stuhlbarg as Andy Hertzfeld is a sensation to watch, and will go down as one of the key players by a select group of movie-goers. Let's just call this a SAG Ensemble lock, shall we?
Boyle's market for his bombastic colors and dance sequences are sure to miss them because they are non-existent. It's great to see him taking a different approach to his storytelling, though letting running text play a role should feel familiar for many. What I found dizzying was the camera work by Alwin H. Küchler, who in the spirit of "Birdman," has the audience constantly moving along with its constant walking characters. At one point, you want to just beg them to sit down and chill out for a second. Hats off to Elliot Graham's editing, who cuts to a commanding pace, even if more pauses would have been appreciated. What shines above all the technical merits is the score by Daniel Pemberton, orchestrating a symphony of music that swells in at the finest moments, and breathes new life into the work of composers everywhere. It was a truly remarkable piece of music that just flies off the screen.