“The movie ‘Steve Jobs’ had all the makings of a Hollywood blockbuster,” Nick Bilton writes for The New York Times. “It had a starry cast (Kate Winslet, Jeff Daniels, Michael Fassbender). The screenplay was by the acclaimed writer Aaron Sorkin (who also wrote ‘The Social Network’).”

“But the movie tanked at the box office, earning about $18 million in the seven weeks after its Oct. 9 release,” Bilton writes. “Perhaps Hollywood had overestimated the public’s fascination with the man. Perhaps the film came a couple of years too late or a couple of decades too early. Or perhaps we have Steve Jobs fatigue, after all the books, movies and documentaries on the visionary Apple co-founder. But perhaps most surprising is the way in which Silicon Valley relished in, and contributed to, the film’s demise.”

“What was also surprising was how veteran technology journalists took issue with the film’s depiction of Mr. Jobs. They attacked the film and its makers like piranha that had just come off a two-week juice cleanse,” Bilton writes. “Walt Mossberg, who was a technology columnist for The Wall Street Journal for many years before co-founding ReCode, wrote a 1,400-word column on how Mr. Sorkin “chose to cherry-pick and exaggerate some of the worst aspects of Jobs’ character,” proclaiming over and over that the Steve Jobs portrayed in the film ‘isn’t the man I knew.’ Steven Levy, who covered Apple for Newsweek and Rolling Stone, said that the Steve Jobs portrayed wasn’t ‘the person I knew.’ And Larry Magid, who covered Apple as a syndicated technology columnist for The San Jose Mercury News, wrote in Fortune that the movie was ‘not about the man I knew.'”

Read more in the full article here.

MacDailyNews Take: Bilton seems upset that this mess flopped. Why does he care?

It’s simple really: “Steve Jobs” problem is that it’s SJINO.

This film is garbage precisely because it opportunistically trades on Steve Jobs name. If Sorkin had done as the multitudinously more talented and vastly more intelligent [Orson] Welles did, and named the film something else, using invented names for his invented characters who spouted his invented, increasingly tiresome pitter-patter dialog, we might have a different opinion. Alas, Sorkin et al. were not confident enough to do so. Instead, they chose the easy way over the right path. They chose to profit off of a dead man’s name, blemishing his legacy, in order to peddle their flickering light show of falsehoods. — MacDailyNews, October 21, 2015

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