Open Road Films
What separates a biopic from any other character piece is that a "true story" isn't necessarily expected to resolve or redeem its central characters. Unlike their fictional counterparts, real people often stay bastards throughout adulthood, submitting in the end to the same fatal flaws that carried with them through their earlier acts. It is the charge of the filmmaker, as such, to extrapolate some meaning from the heap of misanthropy that is, in essence, his or her subject. Be it the wonder, the progress, or even the horror of the featured individual's journey, something must be pinpointed as a reason to remember the biographical story in question. What Jobs does, instead of working toward a reason for us to be enamored with or at least intrigued by the fascinating character that Steve Jobs was, is bank on the simple likelihood that we already know that.
Anyone going into a Jobs biopic has, presumably, an established interest in and familiarity with the founder of Apple, who died of cancer in 2011. But that shouldn't absolve the movie of its duty to prove to its audiences that Steve Jobs is a subject matter worth their while. It doesn't absolve Ashton Kutcher of his responsibility to build a real character, as opposed to just yelling when he's in an angry scene and sobbing when he's in a sad scene. But Jobs seemes unconcerned with its own obligations toward this story. It just wants to tell it.
As such, what we have is two hours of a Steve Jobs seminar. Director Joshua Michael Stern and star Kutcher chatting about Jobs' life and career, joking about his off-putting quirks and offensive hygiene, pulling no punches in discussing his less admirable choices (like abandoning his baby daughter, and firing Apple employees for voicing disagreement). Lucky for Stern, the story Is an interesting one. Jobs, for all his flaws, is a guy you'll enjoy hearing about. But all that is accomplished by JOBS could have been earned by picking up a textbook about his life. And those who have already done so, those who know Jobs' story well enough (those who are the most likely to check out this movie, in fact), will find themselves experiencing nothing new.
Open Road Films
But an even better problem with this method is that it results in an incomplete film. Some of the better biopics that do handle flawed characters like Steve Jobs manage to pull some sense of significance from their tales, affirming that we didn't just spend two hours watching some son of a bitch get away with being just that. Even in the darkest, saddest, most unsettling stories, it is necessary to leave the viewer with something. Something learned, changed, accomplished, earned. The director cannot help if it if the Jobs of the 2000s was the same self-driven man who used people and dismissed ideas in the '70s and '80s. But he can and must do something to work around that. To turn this collection of anecdotes into a comprehensive account, which warrants an ending that is different from its beginning. That's not just cinema, it's storytelling.
And without this effort put in to conform Jobs' life to the demands of the narrative medium, nor the effort to build him into an independently interesting character by Kutcher, we're left with a moreover dull time at the theater. Steve Jobs might be an interesting guy, and his story might be worth telling — that benefit of the doubt is probably the only thing keeping this movie afloat. In company with an external fixation on the man at its center, Jobs might work just around sea level as a piece of entertainment. But what we're looking at, here, is a standalone movie, and one that hasn't put in quite enough work to pay tribute to the man in question.
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Danish actor Lars Mikkelsen has landed a villainous new role in the upcoming third season of hit TV series Sherlock. The star of cult Danish drama The Killing will portray the title character in the TV adaptation of Arthur Conan Doyle's crime novel The Adventure of Charles Augustus Milverton, about a blackmailer who cons wealthy nobles.
Benedict Cumberbatch plays the modern version of Doyle's literary supersleuth, Sherlock Holmes, on the popular BBC show, opposite Martin Freeman.
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The finally-completed end result features tracks like I Don't Remember, Shock The Monkey and Games Without Frontiers covered by David Byrne, Arthur and Arcade Fire, respectively.
Also taking part in the project: Brian Eno, Lou Reed, Bon Iver, the Magnetic Fields, Regina Spektor, Stephin Merritt, Elbow and Randy Newman.
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The prince admitted to reporters he and his wife had yet to settle on a name for the little boy, but after spending a night with the baby at their Kensington Palace home, they have decided to name him after William's great, great, grandfather, King George VI - the father of British monarch Queen Elizabeth II.
A statement released by palace representatives reads: "The Duke and Duchess of Cambridge are delighted to announce that they have named their son George Alexander Louis. The baby will be known as His Royal Highness Prince George of Cambridge."
George had become the clear favourite on Tuesday as a flurry of bets were placed on the baby prince's name, ahead of other traditional monikers James, Alexander and Arthur.
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AEG's lawyers maintain Murray worked directly for Jackson.
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