Steve Jobs — I was pleasantly surprised that Steve Jobs was honed in on three specific product launches in the late Apple prodigy’s life rather than a straightforward biopic. There are flashbacks to key moments in his past, but they come in at spontaneous and fitting moments. Each launch captures the personal and professional turmoil in Jobs’ life, and their pacing is unrelenting. The movie doesn’t shy away from how much of an asshole he was, though it does give him an overly sappy, redeeming conclusion. Michael Fassbender captures his opportunism and arrogance, and the movie is able to make him sympathetic by focusing largely on his failures.
Aaron Sorkin’s screenplay, a rapid-fire burst of bitterness, denial and outright cruelty, is the true star of the movie. This is both a good and a bad thing; the dialogue is brilliant, and delivered at such a breakneck pace that it’s often overwhelming, especially with Daniel Pemberton’s feverish score. However, this also means Steve Jobs never really leaps off the page. Sorkin, Fassbender and director Danny Boyle tap into Jobs’ magnetism, but it feels too calculated. The dialogue sparkles, but other than a board meeting during a rain storm or a feverish crowd waiting for Jobs to take the stage, the images almost never do. Grade: C
The Lives of Others Directed by: Florian Henckel von Donnersmark Written by: Florian Henckel von Donnersmark (screenplay) Starring: Ulrich Mühe, Martina Gedeck, Sebastian Koch, and Ulrich Tukur
Voyeurism, as it turns out, is one of the leading topplers of totalitarianism. At least that’s what Florian Henckel von Donnersmark suggests in his Oscar-winning foreign drama The Lives of Others.
The film tackles both of the aforementioned “-isms” with a formal technique that is amazing from a first-time director. Suspense fills almost every bleakly muted frame, generated not by constant cutting but by focusing on actor’s facial expressions and the many twists of the story. Gerd Wiesler (Ulrich Mühe), an interrogator in East Berlin circa 1984 (yes, like the book) is tasked with listening in on the lives of a playwright (Sebastian Koch) and his actress muse (Martina Gedeck.) At first, we see him interrogate an earlier subject with relish, and the film cuts to him as an instructor lecturing eager students with a recorded copy of the same interrogation.
Salt Directed by: Phillip Noyce Written by: Kurt Wimmer Starring: Angelina Jolie, Liev Schreiber, Chiwetel Ejiofer, and Daniel Olbrychski
In the age of the 3D cash-in, Hollywood has been lax on its movie stars. Unless you call Sam Worthington, “star” of Avatar and Clash of the Titans, one, you don’t actually find many legitimate celebrities inhabiting these movies for more than a cameo. You can say what you want about explosions and gun shots flying at you in 3D, but if you don’t have star power behind it, your movie will just be replaced by the next quick sell.