Steve Jobs review


To describe me as a moviegoer would be more than a tad disingenuous. Finding the time to sit down and properly immerse myself in a film, let alone take a trip to a cinema to spend my life savings on a box of popcorn that I’ll regret within minutes, is difficult.

Nevertheless, I do tend to enjoy adaptations of books that document the lives of the modern world’s more perplexing figures. Two that come to mind are The Social Network, the Oscar-winning dramatisation of the origins of Facebook that helped us to realise that Jesse Eisenberg and Michael Cera were not actually the same person, and Moneyball, the Oscar-nominated translation of advanced baseball statistics and a hairy Brad Pitt to a mainstream audience.

The common link of these movies? Acclaimed screenwriter Aaron Sorkin. His latest twirl of the pen, Steve Jobs, is about to hit UK screens, however those looking for another film of that ilk may be sorely disappointed. Directed by Danny Boyle, Steve Jobs claims to be based upon Walter Isaacson’s 2011 authorised biography of the late Apple co-founder, though is not afraid to abandon all pretence of historical accuracy bar the presentation itself.

Cinematically, Steve Jobs is perhaps the most intriguing film since Alejandro González Iñárritu’s Oscar-winner Birdman. Set almost solely on location in three auditoriums, it is fitting that the movie has a trio of theatrical acts, each taking place in the immediate lead-up to product launches (Macintosh in 1984, NeXT Computer in 1988, iMac in 1998). Of course, by Sorkin’s own admission, it’s incredibly unlikely that Jobs would have had aggressive and fast-paced conversations with the same core of acquaintances at any, let alone all, of the three events, but this narrowed focus does help to entice an audience to persist through its prolonged 122 minute runtime. Unfortunately, it is where Sorkin and co. play recklessly with the facts that you would expect a film titled Steve Jobs to present that the movie begins to unravel.

Our three segments portray individual key concepts: Jobs The Heartless Bastard, Jobs The Manipulative Genius, and Jobs The Sentimental Hollywood Movie Character (not technical terms, I assure you). Each is extrapolated over the 40 minutes immediately prior to Jobs taking the stage. The first centralises around Jobs’ relationship with Chrisann Brennan (Katherine Waterston) and his daughter (much to his initial chagrin) Lisa, whilst the second expands into his business endeavours and that little stumble of being fired by Apple’s board. The final part, an elongated spectacle of sentimentality, grates tremendously, culminating in Jobs chasing his finally-a-daughter onto a roof to tell her he’s going to make the iPod and solve all their problems. Or something. Interest was waning by this point.

Our Jobs is Michael Fassbender, who plays his part exceptionally. It’s quite simple to forget how little he looks like his real-life equivalent as he oscillates between nit-picking details and heartless dismissal of his own children with chilling ease, and he does settle physically into the role as time passes. Early on, despite the movie and the character doing everything possible to encourage hatred for the man, Fassbender somehow creates slivers of empathy for the audience to grasp on to. If nothing else gains recognition come award season, his performance is highly commendable.

Other performances, however, drag the movie slowly beneath the surface. Seth Rogen, portraying a bumbling caricature of Steve Wozniak, takes to serious acting like a MacBook to water. His confrontation with Jobs, which is one of oh so many, introduces the audience to the concept of Xerox PARC and Jobs’ own ‘lack’ of contributions to the actual creation of the devices.

Various characters – such as Jobs’ right-hand woman Joanna Hoffman (Kate Winslet), father figure and sometime Apple CEO John Sculley (Jeff Daniels), and benevolent object of berating Andy Hertzfeld (Michael Stuhlbarg) – pop up throughout, regardless of their actual employment status at the times depicted, and take their turns to sound off at Jobs in a formulaic manner. Particularly in the final segment, all the movie is missing is a physical queue outside Jobs’ dressing room with a deli counter ticketing system.

To appreciate Steve Jobs is to appreciate Steve Jobs, not Steve Jobs. This is a decent movie loosely based on a set of real people, blatantly masquerading as a biopic for a mainstream audience that may not know better. Ignore the name, for this is not a biopic of one of the foremost figures in consumer technology. Walt Mossberg, who knew Jobs and interviewed him on numerous occasions, compared Steve Jobs to Citizen Kane, in which Orson Welles took liberties with the truth and repackaged it under a different banner to bring it to the world.

Fast-talking, confrontational, and frantic. Perhaps an accurate tricolon for the Silicon Valley of today, though not the formula for what is in essence a serious mockumentary to fulfil its lofty expectations. A fascinating work of fiction it may be, but Steve Jobs is not the Steve Jobs movie we’ve been waiting for.


Steve Jobs opens in UK cinemas tomorrow (November 13th)

Rugby 15 review


This is a golden age of sports games. Electronic Arts and 2K, among others, churn out iterative titles every summer, make a quick buck and can get away with it because these titles are really rather good.

Rugby union doesn’t tend to get the same treatment. Since 2007, many fans have been clinging on to EA’s last title, Rugby 08, which was itself no more than a re-skinned Rugby 06. It wasn’t exceptional by any means, but ‘fans’ grew to love its glitches, disrespect for the rules and overpowered Irish centres.

HB Studios, EA’s contracted studio, brought the sport to the next generation in 2011, cashing in on the World Cup hype with, you guessed it, a shinier Rugby 08. Sidhe had a crack with a pair of Rugby Challenge titles which proved scarce and new players found it difficult to adapt to the perplexing controls, yet I found it far superior once you adapted. Still far from perfect, but closer than beforehand.

When news broke early last year that HB would be bringing a new Bigben-published title, Rugby 15, to market, I was tentatively excited. Yes, it would likely be Rugby 06 for the fourth time, but licensed sides and blanket release on major consoles would surely make up for it.

I became highly suspicious the month of release came and, with nary a gameplay video, the game was delayed in the UK (until its release on these shores today). So, like any rational person, I splashed out €45 to get it imported from France a few months ago. All in the name of journalism, of course, my dear reader. I would do anything for you. Even this.

Sadly for my wallet, it’s atrocious. Playing my first game against a longtime nemesis and worthy competitor at rugby games old and new, we both unleashed fits of laughter when the game kicked off.

Animations are deranged and woefully few. Controls are deranged, with the right trigger responsible for passes in all directions. Even the licenses have been mangled, with Irish lynchpin Jonny Sexton carrying a lower overall rating than unknown Harlequins benchwarmers.

Rugby 15’s defining moment came in a clash between Toulon and Clermont Auvergne. Whilst pitying my opponent and clinging onto what little desire I maintained to survive, I crossed the try line and intentionally flicked the ball wide to winger Julien Malzieu, standing off the pitch, who then leapt back across the line, grounding the ball at my command. Correctly, the game awarded Toulon a 22 metre dropout, but not before awarding Malzieu’s Clermont the 5 most invalid points they’ll ever collect, virtual or not.

If you care for the sport of rugby or its video game realisations one iota, please avoid this game. Just pick up a copy of Rugby Challenge 2 and get to grips with its quirks. For now, I’m stuck trying to figure out how to recoup my Euros.

Rugby 15 is released today in the UK. It is awful.

Apple iPhone 5s review

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I’m sure that you all know by now that Apple has announced their latest addition to their smartphone lineup – the iPhone 5s. As ever with Apple, there has been a lot of hype surrounding this launch, and that has resulted in the fact that some of the sites that have reviewed it haven’t really understood what the phone is about, or what it is trying to be. Some put it down for its “bad” specifications. Others fawned over the device just because it was sent down by the Apple gods from above.. Even though I’m pretty late with this review, hopefully I’ll be able to give my thoughts on the device, and while doing that tell you what this device is really about. Continue reading

Flappy Bird or: How I Learned to Stop Worrying and Love the Bird

Flappy Bird

Mobile gaming is a wonderful thing. While it once took a 10 tonne console to escape to another world, where one would typically find a selection of guns, aliens and Italian plumbers, we can now use conveniently portable devices to take us away from our troubles instead. Or allow green pipes to cause even more.

Flappy Bird was the latest avian title to land in our pockets and find surprisingly astronomical success, with a deceptively simple premise and mechanics. A single tap performs a single flap of the wings of a small bird that looks like Kirby with Jay-Z’s lips which, although officially nameless, I affectionately call Flapster.

But why did a game made by a Vietnamese indie developer in a few evenings after work that launched in May 2013 become the most popular mobile game of 2014? The answer lies deep within the struggles of our lives.

Mario uses his raw plumbing tekkers to open wormholes and transcend dimensions with green pipes, but Flappy Bird and its nameless protagonist present a whole new facade to these former allies. He’s not a trained worker. He’s a bird. Pipes are enemies, and serve solely to crush his hopes and dreams with a brutal splat. Should our friend succeed and pass beyond the blockade, life throws up yet another challenge before his eventual death.

Attaching no name or back story to the bird lets us project our own emotions and struggles onto its journey. Life, like Flappy Bird, is not fair. To stand any chance of reaching double figures and cross the obstacles in our paths, we must stay focused and tap carefully. Yes, we may fly face-first into a pipe now and then, but we won’t give up. We will keep tapping. Tapping towards freedom.

Now, as creator Dong Nguyen, with $50k a day in his pocket, withdraws the app from stores and himself from the limelight, lil’ Flapster flies off into the sunset (via a few green pipes, naturally). All we have left are fond memories of the winter of the bird, who taught us it was alright to fail, as long as we got straight back up to seek the bing, and the hours we lost in our quest for a high five.

Nokia Lumia 720 audio review


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Earlier this week, I published my extensive review of Nokia’s Lumia 720. If you haven’t read and watched it already, I’d sincerely recommend that you check it out, but today I’m bringing a new option of consuming our written word to the table. Alex, the lovely robot found within iTunes on Mac OS X, has made an audio version of my post which sounds remarkably good for one of these text-to-speech things. The concept of audio reviews is something I’ve been considering for a while now, so if you think it’s worth us continuing (even if we have to replace Alex with a human or alternative robot voice) give us a shout in the comments or on Twitter.

Right click and save this link to download, and you can subscribe (and rate and review the podcast) using iTunes! Don’t fancy iTunes or use a different podcatcher? Here’s our RSS link!

If you have any feedback, questions or comments, tweet us or send us an email to We’d love to hear from you!

Nokia Lumia 720 review

Lumia 720 review

For years, Nokia has known that the best way to expand market share is to saturate every corner of it with a device. After an initial launch of just two devices in late 2011, Lumia devices are now available at seemingly every price point from £99 to £499, and one of the latest devices to join the range, the Lumia 720, sits firmly in the middle of this vast expanse, priced at around £249 unlocked. It follows on from the Lumia 710, which I reviewed last year and felt was a bargain considering its low price and high quality, but the 720 faces fierce competition from a sea of Android-powered handsets including diminutive versions of the top-selling flagships from HTC and Samsung. As such, is this mid-range combination of Windows Phone 8 and Nokia’s trademark hardware design worth your attention? Read on to find out.

Continue reading