Steve Job's orchestra of human nature plays no false notes.

Rating: 8/10 (23 October 2015)

I never expected the film biography of Steve Jobs to be pure dramatic theater.
Birdman follows one director backstage three days before opening night of his Broadway play.
Steve Jobs follows one director backstage three times before key product launches of his computers.
It is very fitting that the movie's approach to the biography genre is also the movie's core of Steve Jobs: think differently.
Think theater.
A literary orchestra to represent his life. AKA many people talking. Very eloquently.
Steve Jobs, in all his (difficult) glory, clashes with representative figures in his life: his daughter, daughter's mother, and work-wife; his Apple partner, boss, and programmer. We are swept up in the backstage energy of pre-launch secrets and product issues, honesty spawning hysteria, friends emerging as frenemies, strategy for justice or revenge, ideology versus money, and at the heart of it all, deep beneath an icy, scathing surface: Steve's passion and his daughter.
Three pivotal debuts of Steve Jobs as a creator are brought to life by raw, brutally honest performances. The movie's orchestra of human nature plays no false notes. We empathize with everyone, even going so far as to dive into Steve's mind, achieved by seamless editing of memories that affect his present thoughts, particularly potent of father figure Sculley, and of his daughter Lisa.
Conventional Computing Biographies condense a whole lifetime into series of significant events. Inevitably, writers rewrite history and some parts are glossed over, left out, simplified, and customized to many, many different versions.
iBiopic by Aaron Sorkin has a simple structure and intricate core. We glimpse three times into Steve Jobs' life, which Michael Fassbender lives and breathes in the moment--and we're along for the dialogue ride.