"Didn't we just see this movie two years ago, with Ashton Kutcher?" No.

Rating: 9/10 (22 November 2015)

"Didn't we just see this movie two years ago, with Ashton Kutcher?" That's the question I've heard from a lot of people regarding this movie, and the answer is absolutely not. All this movie shares is the subject matter. Saying that is like answering an offer to go see the new James Bond movie with "But didn't we already see this movie earlier this year, with Tom Cruise?" Just because two movies are about the same thing, does not mean they're the same movie, ESPECIALLY in this case. Roger Ebert used to say "A movie isn't about what it's about, it's about how it's about it," and when I see movies like Steve Jobs, I understand what he meant.
But still, as much as I'd love to get angry that this movie bombed, I completely understand why it did. The only negative thing you'll probably hear me say about this movie in this review is that it was extremely poorly timed. Because really, who cares about Steve Jobs anymore? Nobody does. Everybody knows Steve Jobs was a huge douche, everybody knows that he changed the world in a big way. Everyone gets that. That's why this movie bombed, and that's why if my desperate attempt to persuade you to go see it succeeds, you'll probably have to waste a lot of gas to do so, since it's been pulled from about 2,000 screens across the country. I'm not angry at the movie-going populace for causing this to happen, like I am when Transformers 36 grosses half a billion dollars. All I feel is pity, because they're missing out on one of the best movies of the decade so far.
Rather than taking the staple biopic approach of covering Steve Jobs' entire life, this movie looks at it through what is essentially a cluster sample, using the moments before 3 crucial presentations which took place place over his career: that of the Macintosh, the NeXT Cube, and the iMac. It's more of a portrait of Steve Jobs than a photograph, as Aaron Sorkin says. Obviously, all the important figures in Steve Jobs' life did not suddenly decide to confront him in the minutes before all these presentations (this is even ironically addressed by a line late in the film). But that doesn't matter, because it does everything a biopic should- it addresses his accomplishments, the man underneath, his evolution over time, and the evolution of his relationships with those around him. The gaps between these segments are also very well done, using a mixture of news reports, images and Bob Dylan songs to bring us up to speed with the years in between them. Overall, it's a breathtakingly efficient and innovative approach that I can easily see influencing future biopics. Another flash of brilliance is the way the movie's filmed: the first segment, in grainy 16 mm film, the second in 35 mm, and the final in digital, subtly conveying technological advancement through the years.
Now on to the meat of the movie. I've spent a whole paragraph raving about its structure and technical qualities, but none of that matters if the actual movie falls flat. Luckily, however, Steve Jobs is a showcase of brilliant, Oscar-worthy acting and writing. Let's start with the acting. Lead actor Michael Fassbender looks absolutely nothing like Steve Jobs; regardless of that, he absolutely vanishes into the role, and by the end of the film you almost forget that they're different people. It's towering, breathtaking, a performance to marvel at, and if he isn't nominated for Best Actor, I'll eat my ten-gallon hat. Kate Winslet is remarkable as his assistant Joanna Hoffman, the only person with the (metaphorical) balls to tell Jobs what's up. The exasperation Jobs causes her really comes through, as does the love she has for him as a person. I see a Best Supporting Actress nod in her future. I'm really not playing it fast and loose with the Oscar predictions, even though it sounds like it, especially after this statement: Seth Rogen is going to get an Oscar nom. His turn as Steve Wozniak conveys the lasting sting of betrayal, the awkward, timid manner of the man, and the collision of both when he and Jobs go at it. He more than holds his own with Fassbender and the rest of the cast, and for all the critics who think his range is limited to stoner movies, this provides a forceful counterpoint. Jeff Daniels has scenes of fiery passion and quiet reflection as John Sculley, nailing both ends of the spectrum. Michael Stuhlbarg is worth a mention as Andy Hertzfeld, an abused programmer under Jobs' employ. I was excited to see Sarah Snook in this movie, given her knockout performance in Predestination, but she's given an unsalvageably small amount to work with here, sadly. All three actresses who portray Jobs' daughter Lisa are remarkable as well, and Catherine Waterston, playing their mother, gives an intense performance.
Now let's talk about the writing. I'm a sucker for a little Sorkinese, The Social Network being my favorite film of the decade so far, and this movie has it in spades. This movie is almost entirely composed of arguments, and nobody writes arguments quite as good as Sorkin. The dialogue sings, and the movie moves with the pulse of an action film, with every conversation carrying with it the energy of a fight scene. It's absolute music to the ears.
Man, what a rambling review. But I had to talk about this movie. If I can convince just one person to go see it, it'll have been worth it. Don't go see Steve Jobs because you want to support the man himself, his products or his company. Go see Steve Jobs because you want to support great cinema.