At times, Boyle's predilection for cutting and inability to stand still for too long distracts from the whip-smart dialogue. Danny Boyle's cinematic flourishes - abstract, anticipatory cutaways and dramatic, iconography-heavy montages establishing the time between acts - don't best serve Sorkin's script.

'Forced and unbalanced' adequately describe the film overall. These humble beginnings are meant to serve as the implicit reason for Jobs' rejection of his own child, but their introduction into the film - John Scully's (Jeff Daniels) abrupt reference backstage before the Macintosh reveal - feels forced and unbalanced. Jobs was not only a questionable parent, but a damaged son, put up for adoption as a baby. He was more than an inventor, he was an idol and a symbol.

It doesn't help that Fassbender's Jobs is always thinking, rarely able to sit with his or his daughter's feelings for more than a few minutes. We see Lisa grow from age five all the way to a Harvard sophomore, yet the chaos surrounding her father prevents the pair, or the viewer, from getting to know each other in a way that fosters true connection. The temporal brevity of each scene, which is occasionally averted with quick flashbacks to the pre-Apple days filled with terrible hair, doesn't help to establish this father-daughter relationship as best it should, considering how close to center focus it's positioned. Reconciling with his daughter Lisa, who he refuses to even acknowledge as his child at the beginning, is a major through line carrying a sentimental weight that clashes with the film's quick-paced and more successful banter between geniuses. As Kate Winslet's Joanna Hoffman (who is saddled with an unfortunate accent but still succeeds in the role) tearfully tells her boss towards the end, the best thing about a man should be his skills as a father this, however, was the worst aspect of Jobs. That last tenet is conveyed through the liberal and heavy use of dialogue, which is well-crafted and intelligent, if not as memorable as The Social Network's.Д«ut the father and son themes are where the film trips itself up. The trajectory for the Jobs idol is made overt by the key themes of Sorkin's script: father, son, and unbelievable mind. It's the metamorphosis of Jobs that is the focus here Apple fans looking for recreations of the product launches for first Macintosh and the original iMac (or, less likely, the premiere of Jobs' post-Apple disaster the NeXT Computer) will be let down.

Jobs, played by Michael Fassbender who, it must be said, does not resemble the Apple exec in the slightest, transforms subtly and then all at once between 1984, 19. The three-act structure is ambitious, and the theatricality of the screenplay renders the film reminiscent of last year's Birdman, as well as those previous talk-y Sorkin creations.Д®ach act is identified by the year the event took place. Sorkin's script draws heavily from drama in this regard, not atypical for the Oscar winning writer of films like The Social Network and Moneyball. This is the film's most interesting conceit: It offers what is primarily a behind-the-scenes look at Jobs as he prepares for three of the biggest stage performances of his career.

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