Steve Jobs

STEVE JOBS (Danny Boyle, 2015)

As the title character in STEVE JOBS, Michael Fassbender is a prickly and ruthless assessor of those surrounding him, especially when others’ visions don’t match his in the computer business. Director Danny Boyle’s film is broken into three parts as Jobs prepares for product launches. The first, set in 1984, shows Jobs in the final minutes before revealing the Apple Macintosh. The machine’s voice demonstration isn’t working, which is thoroughly unacceptable to Jobs. Meanwhile, he has to deal with other Apple employees who want to talk and ex-girlfriend Chrisann Brennan (Katherine Waterston), who has brought along Lisa, the daughter that Jobs has vociferously denied is his. The film jumps to 1988 with Jobs, now on his own after Apple’s business struggles, preparing to introduce the NeXT computer. The final section takes place in 1998 as Jobs readies the debut of the iMac.

In adapting Walter Isaacson’s Jobs biography, screenwriter Aaron Sorkin treats the co-founder, chairman, and CEO of Apple as an incomparable genius, jerk, and tragic figure of Shakespearean proportions. He’s brilliant and stubborn to a fault. These traits serve him well as he strives for excellence with the computer but cause friction with co-workers and friends. At Apple Jobs insists upon a closed system. Sorkin makes the leap that Jobs gained control in the devices his company manufactured perhaps as a substitute for that which he couldn’t exert in life.

STEVE JOBS mostly takes place backstage and in the auditorium, giving the protagonist big areas to move about, yet Boyle creates a visual sense of being self-contained similar to how like the plastic shells housing the computer hardware. The fly rigging in the background of one scene hints at being beside a massive circuit board. The papers Jobs lays out in a grid resemble a tile interface.

Fassbender portrays Jobs as believing he’s the biggest brain in a room with plenty of stiff competition. He speaks like a logician and bristles when what computes perfectly in Jobs’ mind doesn’t with yield the same calculation by others. The film’s verbal dexterity is one of its chief pleasures, with comedic insults and oneupmanship in great supply. STEVE JOBS touches upon the personal side of the business icon, but ultimately it gets to know him how he would have preferred: through his work.

Grade: B

Inherent Vice

INHERENT VICE (Paul Thomas Anderson, 2014)

The return of an old girlfriend in 1970 kicks of a complicated mystery for private investigator Larry “Doc” Sportello (Joaquin Phoenix) in INHERENT VICE. Shasta (Katherine Waterston) is now involved with a wealth real estate developer, but she fears for his well-being and wants Doc to look into matters. While on the case he has run-ins with his nemesis, Los Angeles police detective “Bigfoot” Bjornsen (Josh Brolin), begins looking for another missing man somehow tied into this all, and is warned of drug smugglers known as the Golden Fang.

In INHERENT VICE the title is explained as something that can’t be avoided. In this instance it’s the 1960s being colonized by the 1970s. Doc’s world of dopers and revolutionaries is gradually giving way to those learning how to wring economic benefits out of a new generation’s political ideals. Often operating in a pot-fueled haze, he seems firmly committed to remaining among the counterculture, but for all of their integrity, he and his fellow misfits on the shore are fated to be washed away by the incoming tide. They haven’t been wiped out yet, but the songs on the soundtrack, including Sam Cooke’s “(What a) Wonderful World”, Kyu Sakamoto’s “Sukiyaki”, and The Association’s “Never My Love”, suggest a wistfulness for the present and recent past that will soon be gone.

The comedic bohemian mystery points toward Robert Altman’s THE LONG GOODBYE crossed with THE BIG LEBOWSKI. In adapting Thomas Pynchon’s novel writer-director Paul Thomas Anderson creates a sense of confusion from the sheer amount of information to sift through and players to keep straight. The complexity of it all is more of the point than being able to explain everyone’s motivations in the end, although upon closer examination it appears to all add up. The humor and resonant emotional turns experienced in this environment are what’s so pleasurable about INHERENT VICE.

Phoenix is a stitch as a drug-addled PI struggling to stay up to speed with the reams of information thrown his direction. As Bigfoot, Brolin is bluntly funny wielding a cop’s laser intensity and lack of regard for everything Doc stands for. Despite their differences Doc and Bigfoot need each other as mismatched informal partners with their fingers on the pulse of separate universes. They are destined to be at eternal odds, but it’s when they collaborate that the larger scheme can come into clearer focus.

Grade: A