The first act - which leads to the unveiling of the first Macintosh computer - has all the seeds of the movie’s undoing, but it’s still amazing to watch: so many balls in the air. Steve Jobs could be a study in what’s wrong with a mainstream cinema that venerates celebrity above all and locates the tragedy of American life in the absence of good dads. Shame about that third act, though, and the ending that retroactively diminishes everything that preceded it. The first act is a thing of beauty and the second, good enough. It’s Aaron Sorkin’s way of turning Steve Jobs into a theatrical tour de force, compressing the exposition in Walter Isaacson’s 2011 biography to the point that it boils - and nearly boils over. The structure is ingenious: three plainly demarcated, 45-minute acts set in 1984, 1988, and 1998, each building to a momentous product launch and a seminal moment in the life of Steve Jobs (Michael Fassbender). Photo: Francois Duhamel/Universal Pictures
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