Steve Jobs

Película lujosamente labrada para espectadores atentos, familiarizados con el tema. Una selección bien pensada de momentos del detrás de escena del trabajo de Jobs, atractiva para el espectador, que cubre de manera integral su personalidad en la vida profesional y familiar. Llena de excelentes diálogos, en algunas partes editados de manera tan sofisticada que cuando se ve por primera vez no se puede captar toda la información. Y cada información es muy importante para la experiencia final. Por lo tanto, la complejidad de la película aumenta con cada repetición, lo que en el cine contemporáneo ocurre una vez por década. Fassbender discretamente brillante. (03.12.2015)

They simply had to shoot this differently and focus on a family or on dialogues between some interesting characters; thus, in a way that was lacking in Silicon Valley or the movie Jobs. On the other hand, I don’t think that Steve Jobs deserves this many movies. Michael Fassbender and Danny Boyle might have showcased some proper filmmaking art, but completely in vain, in my opinion. (29.02.2016)

A concert of fine acting from Fassbender from start to finish + the wonderful Kate Winslet. Boyle’s dynamic direction makes conversations (a fantastic exchange of opinions in the middle of the movie) and other situations unbelievably powerful. Sorkin’s polished dialogs are a sure bet. Even quite obvious things and add-ons + inspiration do not disturb viewing. Probably the only movie this year that met my expectations. P.S.: I found my Mac I had at Junior High rather restrictive, I don’t own an iPhone and I only knew Jobs from the Simpsons before he died. (13.11.2015)

It's not about Jobs's many successes (failures) in Atari, Apple, NeXT or Pixar, so it's not a movie an about a visionary who without doubt influenced the Western world in many ways by them. It is a little more about Jobs, however it is not mainly focused on him, as an extremely interesting person, who combines a capable (willing to do what it takes) and in many respects genius and very intelligent "leader" who was able to sell his innovative vision like no other, with undeniable business skills and charming personality, as well as an arrogant and often unreasonably cruel and emotionally unstable manipulator suffering from a narcissistic personality disorder who does not hesitate to go over dead bodies even of those who are close to him. And that's the nicer side of his dark side. But by far the most it is about the simple relationship of a complicated personality to the world, colleagues, friends and above all about finding a way in life and about an unwanted daughter. It's typically "Sorkinian-style" movie. No doubt about that. However, this time he managed to avoid a frequent weak point of his movies in a very smart way; namely, that his characters theatrically recite and do not speak like real people. And so he immediately captured it as a kind of stylized theatrical performance based on fiction inspired by the reality showed in three acts and returning visits à la Dickens's Christmas Carol. What Honor did well is that, apart from the period format of the individual acts, he stays away from his habits and he completely relies on the frantic pace of Sorkin's energetic dialogs and excellent actors, which is far from just a hymn to the Fassbender-Winslet-Rogen trio. (13.11.2015)

Aaron Sorkin's vividly deft dialogue passages are great, as are the minimum of showy gestures and the absence of unnecessary overload of pathetic emotions in a story about a brilliant man who worked with them like a god and expressed them very sporadically (or sophistically). However, the subliminal wisecracks and subtle business hints in this "live" staged story are monstrously spoiled by the fact that there's terribly little of the broader story, and virtually nothing much going on. If this were a 10-minute cut from the trailer for the first Mac, the narrative value would be quite similar and the experience even more intense than watching a similar variation for 122 minutes. (15.11.2015)