At brunch at the Vault in the St. Regis Hotel last week, writer Aaron Sorkin spoke about his script, loosely based on Walter Isaacson's biography.
Steve Jobs, which I've seen three times now, is a curious and entertaining film. Until recently seen as a top Oscar favorite, it's also proved to be a shocking box office bomb, falling away to virtually nothing just now after only its third weekend in general release.
Here we have collected the best predictions on who will replace Mr. Craig as the new 007.
I awaited few fall releases with more anticipation than Steve Jobs, the Danny Boyle directed, Aaron Sorkin penned film based on Walter Isaacson's best-selling biography. After all, as they say at Nate'n Al deli in Beverly Hills, "what's not to like" about that team?
The new biopic "Steve Jobs" is as much about Aaron Sorkin's screenplay as it is about the man behind Apple. Sorkin's "walk and talk" way of delivering cogent dialogue dominates the film from beginning to end and is the best part of the movie and the worst.
Like Aaron Sorkin's work on The Social Network before it, Steve Jobs isn't meant to serve as historical document of a man, but rather a meditation on a movement.
I understand creative license and why films need to condense, simplify, fudge, and invent to create drama, but is there a point where this can be considered excessively dishonest?
The latest attempt to peel away the layers of the enigmatic Jobs comes via Steve Jobs, a new film from a veritable varsity team of cinematic heavy-hitters: Michael Fassbender playing the title role, a script by Academy Award-winner Aaron Sorkin, and direction by Danny Boyle.
People don't talk that way, even brilliant people. And, for the most part, they're not going to shout vitriol back and forth across a conference hall while many are watching them tear each other apart.
The demands of a major motion picture and its limitations may be too conventional and narrow a box for the complex and world-changing Jobs.
If you're seeking a cinematic antidote to our flattened-out, Big Data, crowd-sourced, mass conformist digital age, then take the time to see Frank. Frank is a paean to true creativity -- the kind of creativity that can only come from an individual.
Having previously flubbed the introduction of a new, younger Professor X and Magneto (James McAvoy and Michael Fassbender, respectively) in X-Men: First Class, the producers clearly wanted to recover a bit of the franchise's mojo.
Comic book nerds may understand the gravity of the situation. A novice, who stumbles into a multiplex looking for that "fun" summer event movie, might not be so enamored.
If you're keeping score at home, of the three Marvel comic-book movies so far this summer (a term I use advisedly for a season that technically doesn't start for another month), X-Men: Days of Future Past outranks Amazing Spider-Man 2 and is about on a par with Captain America: The Winter Soldier.
Think you got what it takes to put the "neato" in Magneto?
"The farther back you can look, the farther forward you are likely to see." -- Winston Churchill (1874-1965) Weeks ago I saw the film 12 Years a Slav...