But if any screenwriter has the imagination, insight, and wit for the job, it’s Aaron Sorkin. Such a larger than life figure would seem impossible to successfully boil down to filmable length (sorry, Ashton Kutcher, your 2013 Jobs biopic is a tinker toy compared to this F16). Such is the overarching idea behind Steve Jobs, a riveting, high-speed assault that crystallizes the life of a man whose career successes were a result of his personal failures. On the inside, he was on the brink of crashing, his internal OS in constant operation, avoiding, justifying, and occasionally acknowledging his poor treatment of others in the name of egomaniacal history making. What director Danny Boyle’s ferocious three-act rocket ride, Steve Jobs, teaches us about its eponymous tech icon, is that he was much like a computer: On the outside, clad in his signature black turtleneck and jeans, he was trim, bespectacled and flawlessly functioning. On the inside, however, the part most consumers don’t see, is a bento box of wires, circuit boards, memory chips, graphics cards, and cooling systems, busily processing and moving the innumerable pieces of information that make the unit work flawlessly – or, occasionally, crash. On the outside, computers are clean, symmetrical slabs of molded polycarbonate pleasant, or at least inoffensive, to look at.
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