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Michael Fassbender

5.19 Unleashing our Inner DARK PHOENIX

June 16, 2019 by Steve Norton Leave a Comment

With the release of Dark Phoenix, Fox officially wraps up its X-Men franchise by retconning one of their most famous storylines. After having been exposed to an other-worldly energy, Jean Grey finds herself battling unlimited power and her own inner demons. As Charles Xavier, Magneto and the rest of the X-Men attempt to help her contain her abilities, a mysterious new foe seeks to unleash its full destructive power upon the world. This week, ScreenFish Radio welcomes back returnees Miriam Ibrahim and Matthew Cimone to discuss the legacy of the franchise, what went right (and wrong) with the film and the power of emotion.

You can also stream the episode above on podomatic, Alexa (via Stitcher), Spotify or Soundcloud! Or, you can download the ep on Apple Podcasts or Google Play!

Want to continue to conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

5.19 Dark Phoenix

Filed Under: Film, Podcast Tagged With: Charles Xavier, Dark Phoenix, Game of Thrones, james mcavoy, Jennifer Lawrence, Michael Fassbender, X-Men

3.21 Attacking ALIEN: COVENANT

May 28, 2017 by Steve Norton 4 Comments

http://screenfish.net/wp-content/uploads/2017/05/3.21-Alien-Covenant.mp3

This week, Steve assembles his  Mikey Fissel (Reel World Theology) and Paul Muzzin (director, CHASING ATLANTIS) as they dig into ALIEN: COVENANT, Ridley Scott’s controversial sequel to PROMETHEUS. The film has proven itself divisive amongst fans and critics but has a lot more to say than people think (or does it?).

Want to continue to conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

3.21 Alien Covenant

A special thanks to Mikey (Reel World Theology) and Paul (Chasing Atlantis)

Filed Under: Film, Podcast Tagged With: Alien, Alien Covenant, aliens, Billy Crudup, Danny McBride, David Fincher, Demian Bichir, horror, James Cameron, Katherine Waterston, Michael Fassbender, Ridley Scott, SciFi, xenomorph

The Light Between Oceans – Hard Choices, Consequences

January 24, 2017 by Darrel Manson 1 Comment

The Light Between Oceans is set on Janus, a small island far off the coast of Western Australia. The Roman god it is named after has two faces and is often thought to be looking to both the past and future (hence the year starts in January, also named after Janus.) Janus Island we discover in the story is placed between two oceans, but it is also a place that lies between hope and despair, joy and sorrow, injury and pardon, and love and . . . love?

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Tom Sherbourne (Michael Fassbender), a veteran of the Great War, signs on as the lighthouse keeper on Janus. He is looking to get away from everything after the war. He will be about one hundred miles from another living person. And he likes the idea. But just before he goes, he meets Isabel Graysmark (Alicia Vikander), a lovely young woman who is grieving the loss of two brothers in the war. After a bit of a long-distance romance, they marry and head to their own little Eden on Janus. Their happiness seems complete—until two miscarriages brings darkness into their lives.

Two days after the second miscarriage, a rowboat drifts toward Janus. Inside Tom and Isabel discover an infant and a dead man. At Isabel’s insistence, they do not notify anyone and begin to raise the child as their own. And so now they are a family of three—Tom, Isabel, and Lucy. But when they take Lucy into port to be baptized, Tom notices a grieving woman, Hannah (Rachel Weisz), in the church graveyard. He sees that she has been at a memorial to a man and child lost at sea the day before they found Lucy. His guilt at her deep grief sets the story for the various dilemmas that Tom and Isabel will face—emotional, moral, and eventually legal. It also means that everyone will have to face sorrow in unexpected ways. There are no possibilities for everything to work out nicely. In fact we may wonder if there will be any happiness for anyone.

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This is a story that deals with consequences. Each action creates consequences not just for the person involved but for others as well. Even when characters try to do what seems the right thing, there are severe, unforeseen costs involved. In such a situation, how can we hope to make choices that will lead to what is right? And we often have to balance what is right for whom, because what helps one person injures another.

The film also touches briefly on forgiveness. In a flashback we meet Hannah’s husband, a German who must live with the resentment of most of the community because of the past war. Yet he lives a life that does not repay those who treat him badly. He notes that you only have to forgive once, but resentments have to be brought up over and over and that is just too much work. This comes up again in the film, but could have been explored a bit more fully than it is.

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I think we often find ourselves on Janus Island—that place that looks in two directions (or even multiple directions) at once. We are always on the cusp not just of past and future, but of the many possibilities of where our lives can lead. The choices we make may open some doors and close others. How we live in the aftermath of our choices often determines whether we will find happiness or not.

Photos courtesy of DreamWorks Pictures

Editor’s note: Special features include “Bringing the Light to Life,” a look at how Cape Campbell, New Zealand, became the background for the film via the cast and crew as Cianfrance’s work made the film what it is; and see the history of the lighthouse at Cape Campbell played out. 

Filed Under: DVD, Film, Reviews Tagged With: Alicia Vikander, Australia, Based on novel, Derek Cianfrance, Michael Fassbender, moral dilemma, Rachel Weisz

Podcast: Surviving the [X-MEN] APOCALYPSE

June 13, 2016 by Steve Norton 1 Comment

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http://screenfish.net/wp-content/uploads/2016/06/2.18-X-Men-Apocalypse.mp3

This week on the show, ScreamFish auteur Jason Norton and newbie Sue Banik join Steve to take on X-MEN: APOCALYPSE! Plus, they face off in the ultimate trivia challenge: the X-Off!

Want to continue to conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

2.17 X-Men Apocalypse

Filed Under: Film, Podcast Tagged With: Apocalypse, james mcavoy, Jennifer Lawrence, Michael Fassbender, X-Men

X-Men Apocalypse: Just Let Go

May 30, 2016 by Arnaldo Reyes Leave a Comment

X-MEN-APOCALYPSEThe year of blockbusters continues as FOX offers it’s latest franchise entry into the mix. Although technically a “Marvel” film, the X-Men have long been under the FOX umbrella (thus the reason no crossover with Avengers… yet). After 15 years of the X-men franchise–and depending on whether or not you count Deadpool—X-Men: Apocalypse is either the 8th or 9th film entry into the Fox canon. Over the years, the films have been both up and down in terms of quality. Still, the modern day superhero films owe X-Men (2000) a great deal of thanks in laying the groundwork for today’s films. (Of course, we can all pretend that X-Men: The Last Stand and X-Men Origins: Wolverine  don’t exist, can’t we?  After all, Bryan Singer certainly does…)

Even though they’d likely deny it, X-Men: First Class was definitely a reboot to the franchise. Even with its flaws, it was very much welcomed after the two aforementioned disasters. After Days of Future Past (DOFP) scored high praise with both fans and critics, we have received X-Men: Apocalypse, the third film for this particular cast. The films has received mix reviews, ranging from ‘horrible’ to ‘amazing’ but I, however, fall in-between. The film has an interesting story with amazing visuals, but it lacks any depth or character growth. However, if they had taken a little more time in fleshing out the characters (especially the villains), the film could have been really great. Unfortunately, the film ends up being only entertaining with nothing really memorable (outside of their sad attempt to poke fun at their two weakest entries).

X-Men Apocalypse takes place ten years after DOFP and begins with Xavier’s school thriving, Mystique having become a mutant liberating hero and Magneto trying on the life of a family man. Although the world knows about mutants, it is still weary of their power. Some treat them horribly wrong, while others attempt to live in harmony with them. However, an ancient evil arises and begins to leave destruction in his wake . His goal is to rid the world of the weak (mainly humans) and create a new world ruled by him. He recruits four mutants to be his horsemen (think the four horsemen of the Apocalypse) with the most powerful of them being Magneto. From there, the X-Men band together to stop him before he destroys the whole world.

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The Good

As I said, the story is interesting, even if it does carry with it elements of stories done before. Apocalypse is mysterious and powerful. Furthermore, his plan to purge the world because man seems hopeless and needs a savior is parallel with many other stories (most recently Avengers: Age of Ultron). It carries similarities to the Bible where as man is truly hopeless and in need of Jesus to be our Saviour. However, in Scripture, the difference is that God has mercy and grace and died on our behalf so that we could be saved.

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The visuals again are great, and the slow motion Quicksilver scenes are the highlight of the film (as with DOFP). There is even a Wolverine scene that (almost) fixes what went so horribly wrong in Origins. To finally see the REAL Wolverine on screen and not the watered-down version that has always been done (insert my Wolverine fan bias here, of course) was a sight for sore eyes.

The Bad

Although the movie was interesting with some parts, you still leave the theater without caring about anything that has just happened. If Apocalypse is so strong, why does he need horsemen? There is nothing explained as to why he needs them, nor is his true origin really touched upon or fleshed out. In the comics, Apocalypse is one of the most intimidating foes and, even though he is shown to be powerful, he wasn’t intimidating. Sure, his power was like no other, but his presence was merely… well… ‘meh’. I don’t just want to see him do powerful things, I want to tremble at his sight and fear him. Unfortunately, they really missed the mark in bringing such a powerful foe to life.

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Going back to character growth, there really isn’t any in this film. As a huge X-Men fan, I know my opinion can be biased at times. I love Jennifer Lawrence as an actress, but I am sick and tired of them trying to make Mystique and Magneto good. Let them be fully bad, not just bad when it is convenient to them. She was the focal point of the film in a leadership role and, to be honest, she really sucked at it. She was there, she had the “role”, but that was about it. Personally, I prefer to see the bad Mystique all the way through, not one who is part of the X-Men.

The Ugly

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I guess Apocalypse could fit here as well but, ultimately, the ugly consists of all the surrounding characters. The Horsemen, Cyclops, Jean, and Nightcrawler were all bad. Their action sequences were  good visually but, as far as fight scenes go, one of the worst I’ve ever seen. The characters themselves were one dimensional and underdeveloped. I ask above why Apocalypse needs horsemen, and with three out of the four he chose, I’m left wondering why. The choice of Magneto makes sense, but what made the others so worthy? They showed nothing that really stood out and screamed “powerful” and, they were weak and outmatched by mere students that had no training whatsover. Again, why do I care about them?

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Speaking of students, Cyclops went from being picked on, to all of a sudden being a rebel, to now being part of the team to stop Apocalypse? Meanwhile, Jean was timid and unsure of herself as she tries to keep her deeper powers (Phoenix) under control and Nightcrawler seems to have been included only to add more CGI. None of these characters actually showed any kind of development, unless you count Jean (by direction of Professor Xavier) finally “letting go”. Is it because she needed to so we can see what scares her, or because we needed to again hint at the failure that was X-Men: The Last Stand? I say the latter.

Just Let Go

Speaking of The Last Stand, where poking fun worked with Deadpool, it seemed out of place in this film. In an attempt to give Hugh Jackman more money, the bad thing about his Weapon X scene is that it served no purpose in the film. The whole idea of Stryker and Weapon X being in the film was absolutely pointless and that time could have been spent in actually developing the key characters of the film. So as I appreciate the attempt, what was the point? And continuing to hammer throughout the film the failure of these two films just leaves one thinking, just let go. This likely was Singer’s last stand, so he left it all out and took his shots on what he was not involved with. But ultimately, FOX needs to come to the same realization that Sony did regarding the Spiderman franchise, just let go. Find a common ground with Marvel Studios and allow them to bring the future X-Men to life within the Marvel Cinematic Universe.

This will benefit all involved, and more importantly, the fans.

Filed Under: Film, Reviews Tagged With: Apocalypse, Bryan Singer, Cyclops, Jean Grey, Jennifer Lawrence, Michael Fassbender, Mystique, X-Men

The Fishing Hole (Vol. 1, Issue 1): Oscar Roundtable (Oscar Spotlight)

February 24, 2016 by ScreenFish Staff 2 Comments

stevejobsThe ScreenFish staff compiled some of their favorites for the top Academy Award prizes. The results were… varied.

 

trumbo2Best Actor

Chris: Leo. It’s his time.  Don’t hate.  Dude gave his guts and glory to film that puppy in freezing cold temps. That’s how it’s done, kiddos!

Darrel: This one I see as very close between Eddie Redmayne and Bryan Cranston, but Redmayne manages to exude the vulnerability of someone who was transgendered before anyone ever thought of a word for it. It is not just that he can do both genders within his character’s personality, but he does it with great sympathy. (Note: I didn’t see Steve Jobs.)

Jacob: I’ll still stick with Michael Fassbender but after seeing Trumbo, I wouldn’t be upset if Cranston won.

Alan: I’m with Jacob. It’s Michael Fassbender (In Steve Jobs, you simply couldn’t take your eyes off the guy. That movie fails to exist without him in the cast.)

Steve:  DiCaprio is not only going to win, but it’s not even going to be close.  Not only did he bring a raw, visceral quality to his performance, he also wins the (more important) ‘it’s his time’ category.  Biggest lock of the night.

 

room1Best Actress

Chris: Brie Larson.  She’s got all the momentum. What sealed it for her was the 2nd half of Room. (Spoiler alert!) The post escape aftermath was more harrowing than the confinement sequences.

Darrel: Maggie Smith (Oh, wait. she wasn’t nominated). In that case, Charlotte Rampling really had the hardest of the nominated roles, and she carried it exceedingly well.

Alan: Brie Larson (If only for the subject material and the skills necessary to pull the role off…)

Jacob: Gulp. I’m going to agree with Chris and Alan. Just so much weight on her performance.

Steve:  Brie.  Brilliant performance in a simply wild role.  Also, it’s a Canadian film so…

 

creed-movieBest Supporting Actor

Chris: Sly has the momentum for Creed.  Mark Rylance SHOULD win for Bridge of Spies.  I could feign false outrage that the Academy is gonna give an Oscar to character they had little respect for in the 80’s (Rocky Balboa).  But…in the words of the character I think should win, “Would it help?”

Darrel: Mark Rylance was amazing in every scene he was in. It was a very deadpan amazing, but amazing none the less.

Jacob: Could it happen twice? Yeah, I’m with Chris. It’s Stallone over a weak field.

Alan: Yes, it’s Sylvester Stallone with the sentimental pick. It would also potentially give him a chance to talk about the injustice of Michael B Jordan not getting a Lead Actor nom.

Steve:  I agree that Mark Rylance was brilliant in Spies and would definitely deserve it… still, we all know Stallone won’t be back in here again and he’s too respected.  Plus, his performance in Creed was one of the most human portrayals of the year.

 

hateful8Best Supporting Actress 

Chris: Since Alicia Vikander is the Flavor Of The Month, she’ll probably win. My heart is with Jennifer Jason Leigh.  When I sat in the theatre, I had a feeling Daisy (her Hateful Eight character) was gonna outsmart all the boys. Happily, I was right.

Alan: I’m going with Rachel McAdams. Spotlight is too good to not have someone win something–here’s where it happens.

Darrel: Rooney Mara. Actually, I think Carol is really Rooney Mara’s film more than Cate Blanchett’s. If it were up to me they would switch categories. But such are the politics and business of Oscar nominations.

Jacob: Just to be contrarian … Having not seen Carol, I’ll go Kate Winslet. I just wasn’t into Leigh’s performance (she grunts about the same way DiCaprio does).

Steve:  Sigh.  While I would love to see my Alicia Vikander step to the podium, momentum suggests that Kate will upgrade her resume (likely on a Mac).

 

Mad Max Fury Road MainBest Director

Chris: Inarritu will go back to back.  Like I said: genuine big screen filmmaking. I wish he could have shot that thing in 70MM instead of Tarantino!

Darrel:  Adam McKay (and co-screenwriter Charles Randolph [they should win adapted screenplay as well]) took an amazing complex issue and history and made it both understandable and entertaining.

Jacob: Puhlease. George Miller sculpted a masterpiece that’s nearly dialogue-free. There is more to unpack there than should be possible. And it’s all about Miller’s vision and direction.

Steve:  Oh, Jacob.  How very cute.  While Miller may even be the one that arguably deserves it more, Inarritu will double his wins this year.  Revenant accomplished the same feat of bringing depth to the silence… and he’s more popular right now.

 

spotlight3Best Picture

Chris: The Revenant.  My heart was with The Martian for most of the awards season but The Revenant is genuine big screen filmmaking.  And that bear scene is already legend.

Darrel: Why Spotlight (which I see as head and shoulders above the others)? It’s a well done film, but beyond that it shows how systemic evils can find ways of staying hidden without a vigilant 4th Estate. And I think it gives us a chance to consider if that vigilant press is dying off in today’s culture.

Alan: It’s The Revenant. The top three award ceremonies split their vote this year. I’m going to say, however, that Inarritu gets a second Best Picture statue to join his previous one for Birdman.

Arnaldo: Mad Max: Fury Road … but only because Sicario wasn’t nominated.

Jacob: While I preferred Fury Road in its style, Spotlight has more to say – and frankly, so did Trumbo. I’m with Darrel here.

Jason N: I’ll take Mad Max but please say it’s not The Revenant!

Steve:  I have little doubt that Spotlight will walk away with the win.  With The Big Short the only likely challenger this year, Spotlight not only gave us something to think about, it also provided a throwback to some of the classic films of the 70s like Network.

Filed Under: Current Events, DVD, Editorial, Featured, Film, Fishing Hole, Oscar Spotlight Tagged With: Alejandro G. Iñárritu, Bridge of Spies, Carol, George Miller, Mad Max: Fury Road, Michael Fassbender, Rylance, Spotlight, Steve Jobs, The Martian, The Revenant

And The Winner Is…or Should Be (Oscar Spotlight)

February 22, 2016 by Jacob Sahms Leave a Comment

revenant2The Oscar races this year are absolutely clear cut… in my mind. Having seen fourteen of the nominated films (out of approximately sixteen films in the major categories), these are my favorites to win.

At Best Actor, the portrayal of screenwriter and Communist Dalton Trumbo by Bryan Cranston put him in rare air, not that of the illicit drugs he manufactured as Breaking Bad’s Walter White. I was immensely moved by Cranston’s depiction of this flawed-yet-heroic man, and the way Jay Roach framed all of the movable parts around Cranston. Sadly, he’ll be runner up to Michael Fassbender, whose turn as Steve Jobs delivers something that Noah Wyle and Ashton Kutcher couldn’t: a performance that gets to the soul of the man. (Film I missed: The Danish Girl -my apologies to Eddie Redmayne.) Here’s a mad genius who lacks the emotional power to connect with others – until those who care about him the most challenge him spiritually.

stevejobs2I’ll openly admit that I’ve only seen a few of the five films in the Best Actress category but I have a hard time believing anyone could surpass Brie Larson’s portrayal of the kidnapped and raped young woman who raises her son in a garden shed in Room. While another year might produce more wins, this will be Room’s lone trophy. It’s harrowing and powerful, both in captivity and in the world outside, but all of it is made human by the quiet power of Larson’s delivery.

room1While this is a “makeup call” (a term ripped from other contact sports), I’ll predict that the Academy awards a lifetime achievement award to Sylvester Stallone for his Best Supporting Actor turn in Creed. Simply put, there are too few scenes in The Big Short, The Revenant, Spotlight, or Bridge of Spies for the other nominees to salt away a win. It’s Stallone by default, even if Michael B. Jordan deserves much of the credit for making Stallone look good (and recovering from the insufferable Fantastic Four).

Consider this your commercial break before we reach my big two awards for the year – consider it burying the lede.

creed-movieBest Original Screenplay: Straight Outta Compton delivers the time, the music, and the mythos of NWA. Were these guys prophets? Exploiters? Exploited? This complex story spins a tale that entertains, reminisces, and challenges us to think about how we define our worldview.

Adapted Screenplay: Michael Lewis’ The Big Short over Emma Donaghue’s Room robs the latter of a double win. Three times nominated, this one has to finally pull off the win. Greed sucks the life out of you in the long run – and proves there are no victimless crimes. It’s not the best film I saw this year, but it serves as a morality tale for all of us to consider in our day-to-day spending and relationships.

Cinematography: Director Alexandro Inarritu can do amazing things with film (think last year’s Birdman). This year, The Revenant dukes it out with The Hateful Eight (only win: Best Original Score). Both films are beautiful in their brutality, with the elements and humanity playing against each other for spellbinding cinematic moments.

straightouttaAnd now… Best Director goes to … Mad Max: Fury Road’s George Miller. Having established a dystopian world decades ago, he returns to the world that Hardy said was in Miller’s head and delivered it in a sprawling, dialogue-short film that visually does everything. No stone was left out of place, and every moment mattered to the overall picture. [Unfortunately, Inarritu will probably win… There, I said it.]

So, does that make Mad Max: Fury Road my Best Picture? Not exactly. While it (and Creed) was my favorite film of the year, it doesn’t qualify as the most important film of 2015. [It also came too early in the year, and surprised everyone with its depth.] A story about working within society to change it (versus running from the world we live in and hitting a restart) makes for a powerful testament of humanity in the midst of an apocalypse. It should be a challenge to us all – global warming, AIDs, violence, racism, whatever – be the change you want to be.

Mad Max Fury Road MainIs it The Revenant? No. Leonardo DiCaprio’s ability to grunt, Inarritu’s ability to shoot enigmatic scenes, and the makeup crew’s ability to generate the ferocious aftermath of a bear mauling do not make a complete picture. If you push me, I’ll admit this film looked cool but I thought the storytelling was shallow. (It’s why I preferred Mad Max: Fury Road.)

bridge3How about Bridge of Spies? Nope. While Tom Hanks delivers a tour de force performance, the film is almost entirely on his shoulders. Yes, it speaks to the way we are divided and guarded in society today, but it’s not enough to just have a strong lead. The film itself was good but not great; without Hanks, it’s a dud.

Left to right: Steve Carell plays Mark Baum and Ryan Gosling plays Jared Vennett in The Big Short from Paramount Pictures and Regency Enterprises

Does The Big Short…? An ensemble cast with solid performances couldn’t save a primarily financial film (here’s looking at you, Margin Call and Moneyball). Brooklyn? Didn’t see it. (Gulp). Room? Too claustrophobic.

And suddenly, we’re down to two.

martian-gallery3-gallery-imageWith the look on Matt Damon’s face as he accepted his award at the Golden Globes, I can tell there were fewer people laughing at the “comedy” that was The Martian. With the ridiculous categorization of the film, The Martian was condemned to be remembered not for Andy Weir’s story but the ridiculous politicization of the awards. And this isn’t even the best film where a dedicated group of brave people willingly sacrifice their lives to bring Matt Damon home or the best film where someone is castaway without human companionship…

spotlight3So, Spotlight it is. While Birdman and The Artist (2015 and 2012, respectively) proved that the Academy sometimes falls in love with the visuals, the track record of 12 Years a Slave, Argo, The King’s Speech, and The Hurt Locker show a trend toward based-on-a-true-story moments that highlight something about our society. With Spotlight, there’s an effort to show the power of the press (ding!), expose a hidden darkness (ding! ding!), and confront a powerful force in the world, the Catholic church (ding! ding! ding!)

Let’s hear the counter arguments. I know Chris Utley will be sharpening his knives… This should be fun.

Filed Under: Editorial, Featured, Film, Oscar Spotlight Tagged With: Alejandro G. Iñárritu, Bridge of Spies, Brie Larsen, Brooklyn, Bryan Cranston, Charlize Theron, Christian Bale, Creed, Eddie Redmayne, Emma Donaghue, Mad Max: Fury Road, Mark Ruffalo, Michael Fassbender, Michael Keaton, Michael Lewis, Room, Ryan Gosling, Spotlight, Steve Carrell, Steve Jobs, The Big Short, The Danish Girl, The Martian, The Revenant, Tom Hanks, Tom Hardy, Trumbo, Walter White

Steve Jobs: The Measure of a Man (Oscar Spotlight: Best Actor)

February 16, 2016 by Jacob Sahms Leave a Comment

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I begrudgingly watched another Steve Jobs film. Seriously, was there more information to be covered, some new angle to be unveiled? As a matter of fact, there was. Thanks to Danny Boyle’s (Sunshine, 127 Hours, Slumdog Millionaire) direction and Michael Fassbender’s nuanced performance, Steve Jobs is a worthy Academy Award nominee with Fassbender’s portrayal of Jobs at its center.

While the special features look into the making of this particular film with commentary, fans of Jobs probably already unpacked Walter Isaacson’s biography of the man. But this is an Aaron Sorkin script, so you can be prepared for witty, moral, and emotional, right? The writer who pulled off West Wing and half a dozen political explorations cinematically knows how to balance the internal and external, the emotional and the conversational.

No Merchandising. Editorial Use Only. No Book Cover Usage Mandatory Credit: Photo by Francois Duhamel/REX Shutterstock (5225575b) 'Steve Jobs' film - Kate Winslet, Michael Fassbender 'Steve Jobs' film - 2015
Set up in three acts, the film revolves around discussions Jobs has with his marketing executive Joanna Hoffman (Kate Winslet), co-founder and creator Steve Wozniak (Seth Rogen), one-time Apple CEO John Sculley (Jeff Daniels, lately from Sorkin’s The Newsroom), and his daughter, Lisa (played by three different actresses), before the launches of products in 1984, 1988, and 1998. Each vignette shows the conflict between Jobs and each of the people, his desire to be great but to protect himself emotionally. 

While much of the film is about Apple and its projects, the dynamic between Jobs, his ex-girlfriend, Chrisann Brennan (Katherine Waterston), and their daughter humanizes the man who pursued excellence in technology and business. He softens to others when he opens his heart to Lisa; his flaws as a human being are on display even while whole populations adore his every futuristic announcement about the way some new gadget works. But, wow, those flaws are worn like badges of honor!

Jobs’ antagonistic friendship with Wozniak, Sculley, and even Hoffman, make for some tense conversations. Additionally, Andy Hertzfeld (Michael Stuhlbarg), draws some fire for his technology and his affection for Lisa and Chrisann. But the way that Jobs is portrayed shows us the friction even in friendship that drove him to excellence and creativity. Wozniak is the one who pushes Jobs to be a human being and excellent; Jobs thinks he must choose one over the other.

To avoid any confusion here, Sorkin’s script is clever and fast-moving in ways that other features about Jobs have not been. There’s a refrain that is hilarious about the two “Andys,” Hertzfeld and launch manager Andrea “Andy” Cunningham (Sarah Snook), which also shows us how manipulating Jobs could be: he thinks one of them should change their name to be less confusing. There’s genius in the way that we are provided so much background and depth in the conversations that are on such a limited stage: we never see Jobs leave the building but it’s incredibly engaging!stevejobs2

The fact is that Jobs thought he was a conductor. He wasn’t the best at code or technology, but he could see the big picture. He couldn’t manage day-to-day moments but he could see the arc. He knew how to put it together in a way that literally changed the world. He was visionary, even while he couldn’t be a compassionate human being.

That brings us back to the fundamental question: can one be driven and good? Can someone pursue excellence and still be relational? So often, those we praise for their dominance are so broken, as Jobs was. At the end of the day, do we believe we can strive higher without burning bridges as we go?

When we consider Jobs’ life and brokenness, it leaves much to be desired. When it comes to Fassbender’s performance, the end result should be Best.

Filed Under: Current Events, DVD, Featured, Film, Oscar Spotlight, Reviews Tagged With: Apple, Macintosh, Michael Fassbender, Steve Jobs

Steve Jobs: Computers and Relationships

October 23, 2015 by J. Alan Sharrer Leave a Comment

Steve Jobs About a year ago, I was on the way home from church and decided to grab dinner from a local restaurant. Upon walking inside, I was greeted by a very strange comment by the manager on duty.

“Oh my goodness!  Steve Jobs!”

Quickly, I took a look at what I was wearing. A black turtleneck, blue jeans, glasses, and sneakers could give off that impression (along with the fact that I hadn’t shaved in a few days).  So before she could say anything else, I replied, “I hope not; he’s dead,” to which we both laughed.  Even to this day, she brings it up whenever I stop in for something.

During his life, Jobs was the symbol of Apple, a tech individual whose ingenuity, personality, and oversight helped bring a floundering computer company to worldwide prominence through products such as the iPhone, iPod, and Macintosh (well, maybe not the latter; more on that later).  Director Danny Boyle sets out in the film Steve Jobs to portray him through a rather unconventional approach—before the launches of three major products.  It doesn’t exactly sound like something that would work at first glance, but what we see in those chaotic moments brings Jobs’ character traits to the forefront—a man obsessed with detail, control, and a very simple attitude about life: “Be reasonable; do it my way.”  But pride doesn’t always bring about the results we might want.

Apple Intro - Macintosh The film begins a few days after the iconic Apple ad that aired during Super Bowl XVIII in 1984. Jobs is nearly ready to introduce the Macintosh to a rabid crowd (even doing the wave in the auditorium beforehand).  But there’s a problem: the demonstration is supposed to have a voice that simply says “hello,” but it’s not working and Jobs (Michael Fassbender) is up in arms about seemingly everything. There’s not enough time to fix the problem, so his aide Joanna Hoffman (Kate Winslet) tries to talk him out of it; after all, it’s only a 20-second portion of a 2 hour presentation. Jobs replies, “Pull the voice demo . . . and then cancel the launch.” He then goes off on software engineer Andy Hertzfeld (Michael Stuhlbarg), threatening to introduce everyone on the development team in his presentation, leaving Andy in the unenviable position of being embarrassed among his peers and the media unless the voice problem is fixed.

Jobs has unrealistic expectations about sales of the Macintosh (1 million in the first 90 days) and then forces Joanna to find a white dress shirt with a pocket for him to wear 15 minutes before going on stage (she has to get it from one of the attendees).  Add into this powderkeg partner Steve Wozniak (Seth Rogen) wanting him to acknowledge those who worked on the Apple II computer (he won’t), his former lover Chrisanne Brennan (Katherine Waterston) trying to figure out why he’s unwilling to admit that he has a daughter named Lisa, and it’s pretty amazing that everything doesn’t blow up in his face.

Jobs comes off as out-of-touch, dictatorial, and ultra-controlling with enough hubris to sink the Titanic. Even after the Macintosh spectacularly fails, he calls a meeting of the Apple Board of Directors when confronted with a no-confidence vote—and asks for a vote on his position even when he’s told what will happen if he does by CEO John Sculley (Jeff Daniels).  He’s fired, but still sets out to create the next best thing, an educational computer called NeXT.  In the presentation for this system, all the previous characters show up and add increasing levels of complexity to the film. Jobs delivers a bombshell statement to a media member about the new system (they aren’t ready to sell it; it doesn’t even have an operating system to use), then acts like it’s no big deal.  Before he goes on, he’s handed a satirical article written by Guy Kawasaki that says Apple will buy NeXT and make him their CEO.  At this point, Joanna begins to think that the article is actually going to happen (and sure enough, it does).

The final product launch happens a decade later with the iMac (you know; those candy-colored all-in-one systems that Derek Zoolander couldn’t figure out how to turn on). Because he hasn’t dealt satisfactorily with his past problems, they spring up on him once again. Wozniak’s still upset the Apple II team hasn’t received due credit, bringing about a tense argument in front of stunned and horrified Apple staff.  Jobs chose not to pay for his daughter Lisa’s tuition to college; Andy secretly does, infuriating him even more. And when he’s finally convinced by Joanna that he needs to make up with his daughter, it’s almost too late to undo the damage he’s caused.  But has he changed?

Joanna and Jobs Considering that Steve Jobs only takes place in three locations, the characters and writing have to be excellent for the film to work. Thankfully, both of them are. Aaron Sorkin’s screenplay is lively and full of incisive dialogue. Fassbender completely immerses himself in the role of Jobs, displaying a commanding and imposing presence on the screen (you’ll hear his name mentioned for Best Actor at the Academy Awards—bank on it). Winslet does a fantastic job as Joanna, trying to balance Jobs’ obligations while keeping him in check. Bridges, as the CEO of Apple in the early portion of the film, is able to establish authority while standing up to the tirades of Jobs. Rogen’s Wozniak is a one-note character I wish had been expanded a bit more, especially since the two of them essentially created the computing revolution out of a garage south of San Francisco. The character of Lisa (played by three different actresses) is probably a bit controversial, as she is the pivot point on which any change in Jobs’ personality must happen.  In many ways, when he looks at her, he sees a reflection of himself.

Can faith be found in an individual called an “unconscious coward” by his daughter?  Even under his hardened exterior, change is possible. The Bible makes it clear that “Pride goes before destruction, and a haughty spirit before stumbling” (Proverbs 16:18 NASB), and Jobs faces this not once, but twice.  He gets back up and is able to continue again, but it’s only when he’s confronted by his past adoption and his daughter Lisa (the only person in the film that is able to stand up to him and never waver) that he shows small signs of getting it.  He puts his time-honored practice on starting exactly on time on hold as he confesses to Lisa, “I’m poorly made.”  Not quite, since God did the creating thing, but it’s a start.  We weren’t intended to have the word ‘poorly’ in our vocabularies, as God make things perfect from the outset.  It’s the mistakes we make along the way that have allowed the word to take on a life of its own.  But even then, God sent Jesus to bring about eternal life and changed lives to those who claim Him, so that the word ‘poorly’ can be something more, something significantly better.

As Steve Jobs walks on stage to demonstrate the iMac with flashbulbs going off, it’s difficult to tell what happens next. It provides a way for the viewer to take a breath at the end of an emotionally powerful, gripping drama that is more about relationships than it is about computers. It’s definitely worth taking a look at.

Steve Jobs is rated R, mainly for some strong language.

 

Filed Under: Film, Reviews Tagged With: Aaron Sorkin, Apple, Danny Boyle, iMac, iPhone, Jeff Bridges, Kate Winslet, Katherine Waterston, Macintosh, Michael Fassbender, NeXT, Seth Rogen, Steve Jobs, Steve Wozniak

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