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Steve Jobs premiered at the 2015 Telluride Film Festival on September 5, 2015,[70] and began a limited release in New York City and Los Angeles on October 9, 2015. It opened nationwide in the U.S. on October 23, 2015.[71][72] The movie also served as the closing film for the 2015 BFI London Film Festival, approximately one month before its release in the United Kingdom on November 13, 2015.[73]
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Todd McCarthy of The Hollywood Reporter said Boyle's "electric" direction "temperamentally complements Sorkin's highly theatrical three-act study" and praised Fassbender in the role, who "doesn't closely physically resemble the man, [yet] he fully delivers the essentials of how we have come to perceive the man."[86] Justin Chang of Variety extolled the film as "a wildly creative fantasia...a brilliant, maddening, ingeniously designed and monstrously self-aggrandizing movie."[87] Sasha Stone, writing for TheWrap, stated that Fassbender gives "a stunning knockout" performance as Jobs in a film that is "a kind of talk opera", which to some might seem to be "Sorkin overkill but the same could be said for the best of them: David Mamet, Edward Albee, Paddy Chayefsky and even William Shakespeare. Sorkin is not trying to do anything but write in his own style, thus this film and its exceptional dialogue leaves its mark as profoundly as Jobs himself left his."[88] Eric Kohn of IndieWire gave the film a "B+", stating that "the cast vanishes into their parts...buried under makeup and a distinctive Polish accent, Winslet's chameleonesque transformation is bested only by Fassbender, whose vivid expressions and constant movement turn him into a physical marvel." He also noted that Boyle "drops his usual whirlwind editing style and instead develops an engrossing chamber piece."[89]
John Sculley praised Jeff Daniels' portrayal of him, but claims the film misrepresented Apple's success with the Mac, and argues that Jobs was "much nicer" than depicted.[93][94][95] Bill Atkinson denounced the film as "not truthful at all. That wasn't his character, and the events didn't happen. You think of Jobs having a reality distortion field. I think of Aaron Sorkin as having ... a history distortion field". Atkinson said that "the only thing he got right in that movie" was the "spot on" depiction of Hoffman, including her accent and how she "tried to rein in Steve from ... making an ass of himself".[96]
Steve Wozniak (who consulted with Sorkin before he had written the screenplay) commented on a trailer released on July 1, 2015, that he does not "talk that way... I would never accuse the graphical interface of being stolen. I never made comments to the effect that I had credit (genius) taken from me... The lines I heard spoken were not things I would say but carried the right message, at least partly... I felt a lot of the real Jobs in the trailer, although a bit exaggerated." Wozniak did not ask to see the final script because he did not "think that would be appropriate... it is the creative work of the producer and writer and actors and director and others." He also noted that the trailer's reference to Jobs' initial rejection of his daughter Lisa evoked an emotional response: "It was hard on me, even being quiet, when Jobs refused to acknowledge his child when the money didn't matter, and I can almost cry remembering it."[11] In September 2015, after seeing a rough cut of the film, Wozniak stated that he felt like he "was actually watching Steve Jobs and the others [....] not actors playing them, I give full credit to Danny Boyle and Aaron Sorkin for getting it so right."[97] In an interview with San Francisco Chronicle on February 10, 2016, Wozniak claimed that the film's scenes between him and Jobs never occurred in reality. Wozniak specifically mentioned that he never requested Jobs to acknowledge the Apple II team onstage, as was shown in the movie. However, he added that Jobs did purportedly show a lack of respect towards the group. When asked about the accuracy of the film's portrayal of Jobs, Wozniak replied: "In real life, to real people, that's the way he could be, very sharp, (although) never quite as much as in the movie."[98]
In a Bloomberg West interview with Emily Chang on August 26, 2015, Andy Cunningham called it "a wonderful film.... It's an incredible character study of a really complex man. Aaron [Sorkin] and Danny Boyle did a fabulous job with it." Her portrayal by Sarah Snook was a "small role but professionally done."[100] The film also portrays Andy as participating in the iMac launch, even though she was not working with Apple at that time.[101] Journalist Walt Mossberg compared Steve Jobs to the Orson Welles film Citizen Kane, which was loosely based on the life of William Randolph Hearst. Mossberg has stated that while both films are aesthetically well-developed, Welles created a fictional set of characters in order to clarify that his film was a work of fiction. In contrast, according to Mossberg (who knew Jobs for 14 years), Sorkin's decision to use real instead of fictional names detracts from the quality of a film which appears to be a biopic and yet is a work of fiction. Mossberg states that "the Steve Jobs portrayed in Sorkin's film isn't the man I knew. Sorkin chose to cherry-pick and exaggerate some of the worst aspects of Jobs' character, and to focus on a period of his career when he was young and immature [...] It would be as if you made a movie called JFK almost entirely focused on Kennedy's womanizing and political rivalries, and said nothing about civil rights and the Cuban Missile Crisis. Sorkin opts to end his story just as Jobs is poised to both reel off an unprecedented string of world-changing products and to mature into a much broader, kinder manager and person."[102]
The movie centers on Vincent , an ex-soldier suffering from post-traumatic stress disorder after returning from Afghanistan, hired to protect the wife of a wealthy businessman at their luxurious mansion Maryland, on the French Riviera.
But one source of inspiration can be surprising: movies. A great film can turn a visit to the cinema into more than just an excuse to relax. It can stimulate your mind and help bring imagination, originality, vision, and flair to your role.
This movie is all about real-life entrepreneur Joy Mangano, inventor of the Miracle Mop and Huggable Hangers, who overcomes immense personal struggle to go on to patent more than 100 inventions and make millions as a successful seller on Home Shopping Network's QVC.
Beyond the business success Mangano enjoys, this movie also tells the story of the power of a supportive family, the struggles women in business have to overcome, and the success a product that meets a need can achieve.
Love Facebook or hate it, viewers can't deny the power of Zuckerberg's story. He doesn't emerge from the movie looking like a hero, but in real life, he's the world's youngest self-made billionaire, and Facebook boasts an impressive 2.27 billion global users.
This movie tells the story of two brothers, Richard and Maurice McDonald, who started a burger stand that eventually became the McDonald's fast food chain that dots almost every highway in the United States. But it didn't grow that big by chance -- it grew because Ray Kroc partnered with the brothers to open franchises, grew unsatisfied with his contract, and eventually bought out the McDonald brothers to grow the business and become a multi-millionaire.
While this movie doesn't leave you exactly rooting for its main character, it tells the story of how a simple idea for a product sold at a fair price can explode with popularity. (It also teaches a good lesson about contract negotiating with any partners you go into business with.)
The Adam Sandler slide continues. Sandler, once a box office giant whose stock has plummeted in recent years, no longer seems capable of making a watchable movie. His latest, Pixels, an homage to the early 1980s video game craze, offers an appeal to nostalgia to go along with little else. The screenplay is arguably the most brain-dead high concept tripe to come out of Hollywood since the original Transformers. Sandler's brand of brash comedy is neutered to the consistency of diarrhea by the constraints of the PG rating. The "characters" vary from slightly annoying to unbearable - this is a film in which a viewer can be forgiven for rooting for the old video game icons to annihilate humanity. God help us if the best savior we can muster is Sandler.
The premise for Pixels doesn't sound like it could support a feature film and it proves unable to. Aliens intercept video footage of a 1982 video game tournament and use giant recreations of Pac Man, Donkey Kong, Centipede, Galaga, etc. as part of a plan to conquer Earth. It's up to Sandler and his cohorts to take them on. Thinking about the logic of that may cause a brain aneurism. In fact, watching the movie may cause a brain aneurism if you can stay awake long enough.
I'm not sure who thought this was a good idea and who greenlighted it. The film has zero appeal for anyone who isn't an (older) die-hard gamer. And how many (older) die-hard gamers are going to venture to a movie theater to see it? Worse still, the nostalgia allure is polluted by Sandler, whose mugging for the camera becomes as tiresome as his unfunny attempts to tone down his crass humor to family friendly levels. Even Kevin James, whom I normally like, is a square peg in a round hole, looking like Chris Christie searching for a buffet table.
The film's so-called "action" scenes, which feature Sandler and co-stars James, Peter Dinklage, Michelle Monaghan, and Josh Gad using big guns to zap the invaders, are contrived to the point that it's impossible to become engaged. Everything is visual graffiti with no point. Even the worst movies usually make an attempt, vague and vain though it might be, to make sense but Pixels seems proud of its inanity. The "dramatic" and "romantic" sequences are so cringe-worthy that they made me long for the love scenes between Padme and Anakin. 2ff7e9595c
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