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Review: The Internship is Worse Than Fetching Coffee - Voice Film - Village Voice film news, reviews and festival reports.
I laughed exactly once during The Internship, at a moment when Vaughn's character performs a Google search using the words "jobs for people with few skills." If you've been there yourself, you'll probably find this funny, too. Set backstage at three iconic product launches and ending in 1998 with the unveiling of the iMac, Steve Jobs takes us behind the scenes of the digital revolution to paint a portrait of the man at its epicenter.
There even comes a point during a heated argument where longtime friend Steve Wozniak (Seth Rogen) tells Steve Jobs that it’s possible to be a decent human being without simultaneously being an asshole, but much like some of the earlier gadgets Jobs created, he too is glitched and flawed to act out as anything different. Steve Jobs argues with John Sculley (the former CEO of Apple portrayed by Jeff Daniels) in a tense conversation where both businessmen spill out their heart and true feelings regarding the breakup of their partnership (complete with an absolutely pulse-pounding piece of music) that lasts for roughly 5 minutes, additionally featuring cutaways to the past overlaid with real-time dialogue, and it’s somehow one of the most gripping scenes of 2015. Just as equally riveting are the scenes between Jobs’ estranged love partner and possible illegitimate daughter (seen throughout the film at ages five, nine, and nineteen) which come with multiple layers of baggage. All of this results in a scenario, where as terrible as the Ashton Kutcher starred biopic of Steve Jobs is, it’s actually not a bad companion piece to this version solely because even though it is extremely boring and by the numbers, you will have a grander understanding of the real-life personas. This isn’t the exact phrasing, but at one point Steve Jobs summarizes each product launch as everyone getting drunk 15 minutes before the press conference and openly revealing how much they deep down despise the man. For a movie that resists the traditional biopic movie formula of career-high-and-low flashbacks (witness Ashton Kutcher’s disastrous “Jobs” about the same subject — now streaming on Netflix), “Steve Jobs” is a droning tone poem of a character study. Screenwriter Aaron Sorkin’s flawed format sets the abstruse biographical narrative in three acts, each placed in the backstage areas of auditoriums, at different points in Jobs’s career.
Sorkin’s affinity for overlapping conversations, infused with artificial traveling tension (a la television’s “The Newsroom”), wears thin just when the movie should take off, namely at the start of its second act. In this ostensibly cinematically dynamic hotel environment of dressing-room mirrors and nervous assistants, Jobs suffers the company of people to whom he should be loyal, but can’t find it in himself to even be civil.
Danny Boyle does an admirable job of adding dimension and resonance to the claustrophobic atmosphere.
Seth Rogen’s Steve Wozniak (to whom Jobs refers as “Rainman”) is presented as two sides of an ongoing joke. Walter Isaacson’s authorized Steve Jobs biography might have been the basis for Sorkin’s adaptation, but this film is all surface and punchlines. Even by anti-hero standards, Steve Jobs was a bad person who treated the people closest to him like dirt. Critic and film historian Cole Smithey is available for speaking engagements, radio and television appearances, teaching opportunities, film festival juries, seminars, and other film related events.
Cole Smithey is currently serving his fourth elected year on the Governing Committee for The Online Film Critics Society.
Aaron Sorkin's big screen retelling of Walter Isaacson's Steve Jobs biography is engaging, entertaining and comes highly recommended, but I am concerned audiences will think what they see on screen is factually accurate. As for Sculley, Jobs never spoke to him again after his ousting from the Mac team in 1985, though the movie has the former Apple CEO show up to both the NeXT and iMac launches as well. It really is about time that Sculley got a reprieve from the false history that sees him fire Jobs and run Apple into the ground.
Movies are like the Internet, you can't trust them and need to verify the information with at least two other independent sources. So just take your pick of what this movie is all about, what the history of the personal computer is, and who is responsible for it.
But mostly, it's depressing to watch two reasonably gifted comic actors play clueless oldies who just can't get the hang of this brand-new Internet thing.

The internship committee takes pity, and before long, Billy and Nick land at the company's ultra-slick, aggressively fun San Francisco headquarters, where they're forced to attend corporate brainwashing sessions while wearing stupid propeller beanies, all in the hopes of landing a job. Steve Jobs is more of a result of what happens to a human being when they become emotionally distant to those around them, and compulsively self-absorbed with their own work. He’s easily going to get another Oscar nomination and possible win for Best Adapted Screenplay, but most importantly, his undoubtedly captivating dialogue exchanges between Steve Jobs and various key figures in his life explode off the screen. Steve Jobs doesn’t vilify the behavior of its titular character, but rather tells the unsavory truth of the real person and the lengths he went to achieve his accomplishments.
That the Apple CEO seems to have never digested the milk of human kindness supports our shared realization that capitalism’s ruthless quest for unlimited profit is headed to a dead end. All Woz wants, and he wants it really bad, is for his partner-in-crime (they stole the software they used to design their early computers) to acknowledge the “Apple II team” for their contributions to the company.
These pages may not be reproduced in any form of electronic or printed media without the expressed written permission of the author. However, your average person might not be interested in such details and is therefore likely to walk away from "Steve Jobs" assuming most of what they saw happened that way. Jobs wasn't someone who was in his prime fifty years ago, but rather a highly public figure who just recently died in 2011. Ironically, the film gives both a voice that highlights the truth of their roles in history, of which most people are unaware. Sorkin positions Sculley as an elder father-figure to Jobs, though it would be more accurate to say he was more like Jobs' older brother, mentor and friend.
The movie actually shows what really happened (mostly) to Jobs and Sculley in the boardroom showdown during 1985. Those interested can start with the movie's inspiration, Walter Isaacson's official Steve Jobs biography, and move on to "Becoming Steve Jobs," co-written by Brent Schlender and Rick Tetzeli. It is our burden to seek out the truth, and only in doing so can we hope to find some portion of it.
Jobs' life was interesting beyond 'artistic licence', and I reckon an accurate and insightful movie would at least be more well-received if not popular. We have two distinct story lines being presented over a period of almost forty years now depending on your bias for or against the company and its founders. The Internship, in which downtrodden old-school salespeople Vince Vaughn and Owen Wilson enter the 21st century and land internships at Google, might have been just the palliative for this sad state of affairs. They fall in with a crew of bright social misfits (played by Dylan O'Brien, Tiya Sinclair, Tobit Raphael, and Josh Brener) and teach them life lessons by first taking them out for Chinese food and then to a strip club.
Which means, for those of you on a really tight entertainment budget, you'll be paying at least 8 cents per minute not to laugh. What this makes for is a double-edged sword where director Danny Boyle’s adaptation is relentlessly entertaining, but something so frenetically paced it never slows down to allow you to catch your breath and even analyze some of the conversations overheard. The narrative structure of only following Steve Jobs around at product launches also feels as if it limits the extent of how the film can explore the wiring of his mind. Chrisann is furious over Steve’s public denial of being Lisa’s father in a magazine interview where Jobs couched Chrisann in a brutally misogynistic analogy. The filmmaker uses 16mm film for the first act, circa 1984 before shifting to glossy 35mm footage for the film’s 1988- era second act. Wozniak’s request seems more than reasonable since Jobs continues to milk that team’s success while tinkering with future failures, like the NeXT computer platform.

This movie helps in its own heavy-handed way at peeling back onion layers of a conceptual inventor who took all of the credit for other people’s work. Even if they did, they can't necessarily duplicate exact dialog, settings, costumes, or even looks. Right or wrong, for good or bad, Jobs truly believed in both what he and his company were doing and the products they created.There are numerous, flat-out fabrications in this movie, but the most egregious in my opinion happens in the second act, set during the 1988 launch of the NeXT Computer. Wozniak has already stated that he never spoke negatively as characterized in the movie, and that he never took Jobs to task about anything like what was shown. Essentially, Steve Jobs is a series of arguments involving a control freak striving for unequivocal success and world-changing fame at all costs. Jobs’s temper explodes, as when his production team fails to make the Apple II computer say “hello” to the audience of press and industry at the product launch. Many people think that while Michael Fassbender looks nothing like Jobs, his performance transcends appearances.
In this scene, Sorkin has Jobs strongly hinting to his marketing executive, Joanna Hoffman, that the creation of NeXT is simply a clever ploy to one day sell it back to Apple, facilitating a triumphant return to the company he cofounded. There is little indication of his brilliance, but what is more disturbing to me is that he is portrayed as a borderline sociopath with little regard for anyone except himself. Jobs essentially forced him to take an adversarial position during an infamous boardroom clash, resulting in Jobs' departure. With Sculley, Woz, and Lisa appearing at each event through the years with the same message for Jobs, it was vaguely like a Christmas Carol--perhaps it should have been better titled "A Keynote Carol". To further kick up the laugh meter, Billy stocks up on more than he can actually eat, let alone carry, at the search behemoth's famous free cafeteria. The Steve Jobs presented here is an egomaniacal huckster with a gift for gab and a mean streak when it comes to women. I agree, as early in my viewing of the film, I was able to suspend disbelief and allow Fassbender to become Jobs in my mind. To anyone who has researched Jobs or read the writings of those who knew and worked for him, this plot invention is truly an insult upon his character.
The film does show Jobs display a bit of affection for Hoffman and then finally for his daughter Lisa in the third act, which by then seems rather out of character. The second story line is that of a company who was merely an also-ran, a company whose founders stole the work of unacknowledged giants, innovated nothing, was just a marketing entity run by a megalomaniac, and offers inferior overpriced junk for sale to an uneducated public. Don’t look for any humanity here because the Steve Jobs we come to know from this film may as well be a capitalist robot come to “save” humanity by extracting its money.
Jobs was well known for lacking empathy, especially earlier in his life, but it is unbalanced to represent him this way.Kate Winslet (left) plays Jobs confidant Joanna Hoffman. Talk about a wealthy skinflint not worthy of procreating, Steve Jobs puts the cherry on the cake.

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