Steve Jobs - Review

 

In today’s day and age, it’s easy to get blindsided by the showman ship and the frivolity of the technology that so frequently flaunts it metal bits in our faces. Digital watches, smart phones, smart houses, security systems, and many many more types of technological advancements that have all come to our tiny, fragile human hands in the last two decades. And arguably the man to thank for starting the technology re-revolution in the tail end of the 20^th century is Steve Jobs. Some will disagree, but many regard him as the father of the modern technological age, at least in terms of accessibility to the public.

“Steve Jobs,” the film, does not regard him as a godlike figure that should be idolized by every keyboard monkey on the planet. The film treats him like many people say he was outside of the public eye. To put it bluntly, he was an asshole. Jobs was someone who was treated as a visionary but was pretty mean to most of the people he worked with. He thought he was ‘hot shit,’ and that his opinions and visions on the products mattered more than the people designing them, building them, programing them, or paying for them.

Granted, this could be what made him a genius in his own right, but the film attempts to show him as honestly as possible, and it largely succeeds, although it succeeds more so in being an enjoyable character piece, than it does an honest retelling of Steve’s life. The film is directed by Danny Boyle (“Slumdog Millionaire,” “127 Hours”) and it has such a palpable and unique shooting style. At one moment you are twisting through the air and in another it’s a simple, straight forward scene between two actors.

Yet every moment, the screen lights up with these performances. Michael Fassbender (“Inglorious Bastards,” “Shame”) is compelling and dickish in his portrayal of Jobs, and an unrecognizable Kate Winslet (“Titanic,” “Revolutionary Road”) is just as terrific, if not slightly better, as his confidant, assistant, and closest-thing-to-a-best-friend-he-has Joanna Hoffman. The rest of the cast is also excellent; Seth Rogen (“Pineapple Express,” “50/50”) is charming and has this joy to him as he plays a man who was, and is, always excited about the power of technology in Steve Wozniak. Michael Stuhlberg (“Lincoln,” “Hitchcock”) is engaging as Andy Hertzfeld, Jeff Daniels is calculating warm presence, and Katherine Waterson (“Michael Clayton,” “Inherent Vice”) is sympathetic and at the same time infuriated as Chrisann Brennan, the mother of Steve’s estranged daughter.

The film plays out like a stage play, with scenes that lack a lot of pomp and circumstance that you typically equate with big Hollywood films, even big Hollywood biopics, and that is thanks to its writer, Aaron Sorkin, the legend behind The West Wing, both the stage play and the film adaptation of A Few Good Men, The Newsroom, and The Social Network. His writing is pitch perfect, but a lot of that comes from the actors as well, who all work together like clockwork to make the words click and the characters connect.

But the film isn’t about Steve launching a product, or his fights with Woz. It’s about his daughter, and Steve’s refusal to accept his parentage. It’s about how a man can create so many great things without actually being great himself. And it’s about how we humans love computers so much, because they don’t have arguably the biggest flaw humanity does; arrogance.

The film is a study on the human condition, our need to be desired and to have what we want. And how when we get it, we realize how wrong we really were. Steve Jobs is a film about a man and his Lisa. Although, not the computer Apple made from the 80’s, the Lisa I’m talking about, is his daughter. Beautifully shot, acted, scripted, and scored, Steve Jobs is a simple film, about a man, what he created, and why none of it mattered without his original Lisa. 4.5/5

Straight Outta Compton - Review

 

Even if you’ve never listened to it, the music of NWA is instantly recognizable and it’s easy to appreciate what it did for the likes of Dr. Dre, Ice Cube, Eazy-E, and the rest of the group, as well as for the streets of Compton. With a group that this revolutionary and this remarkable, at some point biopic had to be made.

Enter “Straight Outta Compton,” directed by F. Gary Grey (“Friday,” “Set It Off”) and written by Jonathan Herman, Andrea Berloff (“World Trade Center”), S. Leigh Savidge (“The Legend of Dolemite”), and Alan Wenkus. This is a film determined to show, warts and all, the true story of how this group came to be. And the film wants you to know from the very beginning that this is a brutal, unapologetic retelling of this group’s origin, as it starts with the Universal logo with news chatter about drugs and gang crime, instead of the typical anthem. Within the first five minutes, guns are pulled, drugs are sold, four letter words are dropped, and cops literally ram down the front porch of a house.

This is an unflinching retelling, if nothing else. It’s also a very slow burn. From the moment the film starts, you know its building toward something, but you don’t know how it will get there, leading to each scene having a feeling of importance. You don’t know if this scene is going to be the one that makes a difference, or this one, or the next one, but because they’re all treated with the same level of importance to the story, it leads to an almost edge of your seat feeling throughout.

Each character is performed effortlessly, and while the controversy around Ice Cube’s oldest son, O’Shea Jackson Jr. in his film debut, playing the younger version of Cube, who serves as the film’s producer along with Dr. Dre, is easy to understand, by the end of the film you’ll see that the choice was made clearly based on talent and not relations. That also goes for Jason Mitchell (“Contraband,” “Broken City”) and Corey Hawkins (“The Walking Dead”), who play Eazy-E and Dr. Dre, respectfully.

The best part about the film is that, whether you like rap or N.W.A. or not, you can see it and relate. It’s a movie about creators and the ways that they used every connection they had to do the one thing they had to do; speak out, use their voices, and create. The montages of rap session, lyric writing, and recording sessions are inspiring, coupled with both a stellar musical score from composer Joseph Trapanese (“Earth to Echo,” “The Divergent Series: Insurgent”) and a great soundtrack of rap songs. The film bleeds inspiration and portrays a story of creative types in the wrong situation and wrong time.

But beyond the story of creative types, you can also see the seeds of descent that are being sowed throughout, and that comes from an incredible performance from Paul Giamatti (“American Splendor,” “Cinderella Man”), as the manager Jerry Heller, who both clearly cares about these young men and their safety, but also cares about the money, and given Paul’s great performance, it is difficult to tell which motive he is going with at what times. It could easily be money or caregiver instincts, making it difficult to predict which way the story will go. This also comes from Eazy-E, and the general sense of uneasiness that the rest of the group feels, as the crowds shout “EAZY!” in response the question “Who did you come to see?”

It’s really from this point forward that shows that this is a film not about the group in the public’s eye, but about these guys together as brothers. As the film progresses, emotions run high, and the writing and acting turns in some truly incredible, award worthy material. By the time the film ends, don’t be surprised if you have to dab at your eyes a bit. Because the story of the N.W.A. was a story of a group of brothers, men who loved each other, through all the dis tracks and all the money. And in the end, their incredible story, of an incredible group, turns into an incredible film, and by far one of the best of 2015. 5/5