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Steve Jobs

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

stevejobs2

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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