“Steve Jobs”

WHAT: An unconventional biopic that follows Steve Jobs (Michael Fassbender) backstage during three product launches – the Apple Macintosh in 1984, the NeXT “black box” in 1988, and the Apple iMac in 1998 – that helped shape his legacy.

WHY: For a movie about one of the most innovative people of the past century, it’s fitting that “Steve Jobs” is as risky and unique as the man himself. Aaron Sorkin was the perfect screenwriter to tackle this material, creating a sharp, funny and often unflattering look at Jobs that moves like a bullet train, despite the dense nature of its three-act structure. Director Danny Boyle stays out of the way for the most part, allowing Sorkin’s script to sing with few distractions, but he brings an electric immediacy to the story that’s reminiscent of live theater. Michael Fassbender is excellent as the title character, blurring the line between fiction and reality with his nuanced portrayal, while the rest of the cast shines in supporting roles. Though “Steve Jobs” will rub some people the wrong way with its prickly depiction of the Apple visionary, it’s an endlessly fascinating film that’s more respectful of its subject than it initially appears.

EXTRAS: There’s an audio commentary by director Danny Boyle, writer Aaron Sorkin and editor Elliot Graham, as well as a making-of featurette.

FINAL VERDICT: BUY

“Black Mass”

WHAT: When small-time criminal Jimmy “Whitey” Bulger (Johnny Depp) begins to make a name for himself in South Boston, he strikes a deal with childhood friend/FBI agent John Connolly (Joel Edgerton) to help get rid of the local mob. But as John struggles to cover up Whitey’s growing criminal empire, he unknowingly places himself in the FBI’s crosshairs.

WHY: Much like director Scott Cooper’s first two films, “Black Mass” is a pretty slow burn, and although that comes with the territory of the crime genre, the movie doesn’t have anything new to say (or a new way to say it) that hasn’t been done in countless other gangster flicks. The true-life story is certainly compelling, but it never attains the greatness to match its ambition, despite Johnny Depp’s effectively chilling turn as the notorious Whitey Bulger. It’s not an overly showy piece of acting, servicing the story instead of his own self-indulgence for once. Unfortunately, the rest of Cooper’s top-notch cast (save for Joel Edgerton) is wasted in throwaway roles, which is not unlike the film itself, because for every outstanding setpiece, there are several scenes of tedious filler that grind the movie to a halt. Still, while it doesn’t do enough to earn a spot among the classics, “Black Mass” is a satisfying crime thriller that’s worth watching if only for Depp’s impressive return to form.

EXTRAS: In addition to a documentary about Whitey Bulger’s eventual capture, there’s a making-of featurette and a behind-the-scenes look at Johnny Depp’s transformation.

FINAL VERDICT: RENT

“The 33”

WHAT: The unbelievable true story of the 33 Chilean miners – including reluctant leader Mario Sepúlveda (Antonio Banderas) and shift foreman Luis “Don Lucho” Urzúa (Lou Diamond Phillips) – who were trapped underground for 69 days following a catastrophic mine collapse, only to be miraculously rescued.

WHY: It was never a question whether a movie would be made about the 2010 Copiapó mining accident, because it’s the kind of real-life story about courage and heroism that Hollywood loves. But for as extraordinary as the story may be, “The 33” recounts the events in such a disappointingly ordinary manner that it doesn’t really do it justice. Director Patricia Riggen does a good job of balancing all the different subplots, but there are so many characters fighting for screen time (from the miners, to their family members, to the government workers spearheading the rescue attempt) that none of them are very well developed. Antonio Banderas’ character is the only one who doesn’t feel like a thinly-sketched stereotype, while the decision to cast actors like Gabriel Byrne, Juliette Binoche and Bob Gunton in non-white roles is just plain insulting. There are a few great moments peppered throughout (like the climactic rescue sequence and the dream-like Last Supper scene), but “The 33” too often resorts to the same boring clichés.

EXTRAS: There’s a featurette on filming the mine collapse sequence, as well as a retrospective on the real-life events with news footage, interviews and more.

FINAL VERDICT: RENT

“The Kid”

WHAT: When a woman (Edna Purviance) abandons her newborn child on the street, a tramp (Charlie Chaplin) takes him in and raises the young boy (Jackie Coogan) as his own.

WHY: Charlie Chaplin’s first foray into feature-length filmmaking is undoubtedly one of his best works, even if the 1972 rerelease included on this Criterion edition is only 53 minutes long. Not many people have seen the original 1921 cut, which includes 15 minutes of additional footage, but it seems strange that Chaplin would remove so much from an already short movie when the one thing that “The Kid” is lacking is a richer narrative; it’s almost too simple for its own good. Though the film works really well as a showcase for Chaplin’s comedic genius, it lacks any real emotional depth apart from the sequence where the Tramp fights to retain custody of Jackie Coogan’s orphan boy. Chaplin is brilliant as always in the role of his famous Tramp character, and Coogan impresses as his young partner-in-crime, but while there’s a lot to love about “The Kid” (particularly the duo’s fantastic chemistry), it falls well short of its reputation as a cinematic masterpiece.

EXTRAS: There’s a new audio commentary by Chaplin historian Charles Maland, a video essay about Jackie Coogan, interviews with Coogan and Lita Grey Chaplin, deleted scenes, archival footage, the 1922 silent short “Nice and Friendly,” an essay by film scholar Tom Gunning and much more.

FINAL VERDICT: RENT

“Girls: The Complete Fourth Season”

WHAT: The further misadventures of Hannah Horvath (Lena Dunham) and her group of twenty-something friends – Marnie (Allison Williams), Shoshanna (Zosia Mamet) and Jessa (Jemima Kirke) – as they traverse the ups and downs of adulthood in New York City and beyond.

WHY: HBO’s “Girls” continues to be one of the best shows on television to hate-watch, so oblivious to the soap-operaish train wreck it’s become that it sometimes feels like creator/star Lena Dunham is punking us. While Season Four represents a slight improvement due to the main quartet’s efforts to finally grow up, even if they’re rarely successful, the rest of the show is business as usual. Hannah’s journey from graduate student to substitute grade-school teacher is laughable; Marnie’s awkward partnership with new boyfriend Desi (Ebon Moss-Bachrach) is even more groan-worthy than her past relationships; Jessa is still a complete waste of space; and Shoshanna (perhaps the most realistic of the group) is vastly underutilized. Zachary Quinto has a fun guest stint as the ultimate hipster asshole, but it’s Adam Driver and Alex Karpovsky who remain the show’s greatest assets. “Girls” simply wouldn’t be tolerable without them, which is why it’s in Dunham’s best interest to keep them around as long as possible.

EXTRAS: The two-disc set includes audio commentaries by the cast and crew on seven episodes, a making-of featurette, deleted and extended scenes, a gag reel, and the previously released “Inside the Episode” mini-featurettes.

FINAL VERDICT: RENT

Check out David Medsker’s 2015 Year-End Movie Review as well for David’s picks.

1. “THE MARTIAN“

Although it’s the third film in as many years about astronauts in distress, “The Martian” is a smart, captivating and humorous adaptation of Andy Weir’s bestselling novel that covers very different narrative and emotional territory than “Gravity” and “Interstellar.” For starters, it’s a lot more uplifting than most sci-fi fare, eschewing the usual doom-mongering for a story about the power of optimism and perseverance that also doubles as one heckuva recruitment video for NASA. (Who knew science and math could be this much fun?) Matt Damon is perfectly cast as the Everyman astronaut forced to “science the shit” out of his seemingly impossible predicament, while the supporting cast – including Jeff Daniels, Chiwetel Ejifor and Jessica Chastain – is absolutely stacked with talent. This is hands down Ridley Scott’s best movie since “Gladiator,” and it owes a lot to Drew Goddard’s screenplay, which takes a lighthearted approach to the high-stakes drama in order to produce one of the most purely entertaining crowd-pleasers in years.

2. “SICARIO“

“Sicario” isn’t the first movie to tackle the illegal drug trade along the U.S.-Mexico border, but it’s easily one of the best, a relentlessly suspenseful crime thriller that offers a merciless look behind the curtain of the real War on Drugs. The film rarely takes its foot off the gas, continuing director Denis Villeneuve’s excellent form with a masterclass in building tension that will tie your stomach in knots. Roger Deakins’ cinematography is as stunning as ever, somehow finding the beauty in an ugly situation, but it’s the performances from the three leads that really elevate the material. Benicio Del Toro is especially good, delivering his best work in over a decade as the silent but deadly consultant – a veritable wolf in sheep’s clothing who eventually bares his teeth and claws in the explosive final act. Though a few missteps prevent “Sicario” from true greatness, it’s an outstanding, white-knuckle thriller that will leave you mentally and physically exhausted in the best possible way.

3. “SPOTLIGHT“

Tom McCarthy’s “Spotlight” may be one of the most low-key awards contenders in quite some time, relying on top-notch acting and writing to recount the fascinating true story about a group of journalists who changed the way we looked at the Catholic Church forever. It’s just a really well-made movie, and the best one about investigative journalism since “All the President’s Men,” creating moments of suspense from the seemingly boring daily grind of searching through documents and chasing down leads. Although there aren’t any standout performances, every actor plays their part and plays it extremely well, working as an ensemble to serve the larger narrative. The same goes for McCarthy and Josh Singer’s disciplined script, which avoids the allure of sensationalizing events or being exploitative. “Spotlight” lets the story speak for itself, and while it’s one that needed to be told, the film is first and foremost a celebration of the journalistic process that made it possible for the courage of a few to be heard by the entire world.

4. “STEVE JOBS“

For a movie about one of the most innovative people of the past century, it’s fitting that “Steve Jobs” is as risky and unique as the man himself. Aaron Sorkin was the perfect screenwriter to tackle this material, crafting a sharp, funny and often unflattering look at Jobs that moves like a bullet train, despite the dense nature of its three-act structure. Director Danny Boyle stays out of the way for the most part, allowing Sorkin’s script to sing with few distractions, but he brings an electric immediacy to the story that’s reminiscent of live theater. Michael Fassbender is excellent as the title character, blurring the line between fiction and reality with his nuanced portrayal, while the rest of the cast shines in supporting roles. “Steve Jobs” will rub some people the wrong way with its prickly depiction of the Apple visionary, but it’s an endlessly fascinating film that’s more respectful of its subject than it appears on the surface.

5. “MAD MAX: FURY ROAD“

George Miller may be 70 years old, but that hasn’t stopped him from outclassing filmmakers half his age by making one of the craziest, most badass genre flicks in ages. Though “Fury Road” looks incredible, with John Seale’s stunning cinematography providing a painterly quality to the visuals, the real reason to see it is for the action. (Well, that and Charlize Theron as grease-smeared warrior Furiosa.) Conceived as one long car chase, the movie is packed with some of the most amazing sequences you’ll ever see, most of which were done practically. It’s a minor miracle no one died during the making of this film, because Miller’s high-adrenaline set pieces are so unbridled that you genuinely fear for the lives of the actors and stuntmen with each explosion, car flip and crash. Every minute of vehicular mayhem is pure cinematic magic – a jaw-dropping assault on the senses that gets weirder as it goes along – culminating in Miller’s best “Mad Max” yet.

6. “THE HATEFUL EIGHT“

Quentin Tarantino’s first crack at making a Western may have resulted in the slightly disappointing “Django Unchained,” but his second attempt is a much-improved genre piece that represents his most accomplished work behind the camera to date. While Kurt Russell, Jennifer Jason Leigh and Walton Goggins all deliver excellent work, Samuel L. Jackson’s show-stopping turn is the real standout, chewing up scenery with every juicy monologue and sly look. Granted, the first half of the film moves like molasses as Tarantino gets all of his pieces on the board, but the pacing is intentional, slowly building to a boil that spills out into a flurry of blood and violence in the final hour. Though “The Hateful Eight” is filled with the same self-indulgent tendencies that fans have come to expect from the director’s movies, this Agatha Christie-styled whodunit is a lot of fun thanks to a smartly crafted script, some outstanding camerawork that benefits from the 65mm film format, and riotous performances from the ensemble cast.

7. “BROOKLYN“

Director John Crowley’s coming-of-age tale about a young Irish woman immigrating to America in the 1950s is a beautiful little movie that shines in its simplicity. Adapted from Colm Toibin’s novel of the same name, “Brooklyn” adds a layer of emotional complexity to its otherwise familiar love story by centering it on the notion of home, both the one we make and the one we leave behind. Saoirse Ronan, who’s always displayed a maturity beyond her years, is fantastic in her first adult role, radiating with old-school movie star elegance. Emory Cohen and Domhnall Gleeson are also really good as rival love interests on different sides of the Atlantic, but it’s Ronan who gives the film its heart and soul. Gorgeously shot by Yves Bélanger with lush visuals that transport you back to that time period, “Brooklyn” is every bit as sweet as it is heartbreaking – an old-fashioned romance that reminds you what it’s like to fall in love.

8. “STAR WARS: THE FORCE AWAKENS“

“Star Wars: The Force Awakens” is an exciting return to form for the franchise that recaptures the childlike sensation of watching the original trilogy for the first time. It’s thrilling, funny and surprisingly emotional. While the inclusion of familiar faces like Han Solo, Chewbacca and Leia is great fan service that also functions as a passing of the torch to the new characters, director J.J. Abrams never lets you forget that this is their movie. Daisy Ridley, John Boyega, Oscar Isaac and Adam Driver all shine in their respective roles, although it’s playful droid BB-8 who ultimately steals the show. If there’s one complaint, it’s that Abrams packs too many characters into the story, resulting in several unanswered questions that are dangled in front of the audience like a carrot on a stick. But those kinds of mysteries have always been a part of the “Star Wars” ethos, and “The Force Awakens” is “Star Wars” to the core, blending the old with the new to produce an excellent continuation of the saga that leaves you wanting more.

9. “THE REVENANT“

Alejandro González Iñárritu’s follow-up to “Birdman” is an unflinchingly brutal tale of survival and revenge that completely immerses you in the rugged conditions of early frontier life. Iñárritu does his best Terrence Malick impression with this gorgeous drama filmed largely in the Canadian wilderness, reteaming with cinematographer Emmanuel Lubezki to deliver more of the same great visuals and signature tracking shots, which amplify the realism of the never-ending suffering that Leonardo DiCaprio’s character endures. The much talked about grizzly bear mauling may be one of the most intense sequences ever captured on film, but it’s only a small piece of the actor’s raw and physically demanding performance. Though Tom Hardy is absolutely electric as the villain, DiCaprio has the tougher role, and he makes you feel every bit of blood-curdling agony. “The Revenant” is the classic battle of man vs. nature at its cruelest, and save for some minor pacing issues, it doesn’t disappoint.

10. “THE BIG SHORT“

The 2008 housing market crash was no joke, which is why it might come as a surprise that “The Big Short” was directed by the same man responsible for goofball comedies like “Anchorman” and “Talladega Nights.” But while Adam McKay isn’t the first person you’d think of to direct a movie about the worst economic crisis since the Great Depression, he’s produced a darkly humorous examination of a nationwide disaster so ridiculous that it’s difficult not to laugh. McKay and co-writer Charles Randolph do a great job of breaking down the complex financial jargon into something the average moviegoer can understand, turning what could have been a dull and dense PowerPoint presentation on mortgage loans into an entertaining lesson about just how messed up the whole financial crisis really was. McKay’s docudrama approach isn’t entirely successful, but the movie’s flaws are offset by some solid performances and a steady stream of humor that makes the infuriating subject matter a little easier to swallow, even if we seem doomed to repeat those same mistakes again.

“BEASTS OF NO NATION”
“CREED”
“EX MACHINA”
“INSIDE OUT”
“KINGSMAN: THE SECRET SERVICE”
“MISSION: IMPOSSIBLE – ROGUE NATION”
“MUSTANG”
“ROOM”
“WHAT WE DO IN THE SHADOWS”
“WILD TALES“

Most biopics go to great lengths to humanize their subjects, to show that even the great ones are flawed in some way. “Steve Jobs” sets its subject on fire, and then pokes the body with a stick for 122 minutes. They make it clear from word one that Jobs was a sociopath, blinded by ambition and seemingly incapable of empathy or love. He was an insufferable boss and an even worse father, yet the son of a bitch changed the world.

And the thing is, those are all okay elements to include in the film of someone’s life. More often than not, though, those pieces aren’t the whole story. Here, they are, and it’s framed within a narrative that seems designed to make the audience even more uncomfortable. “Steve Jobs” is well written and well-acted, but it is not an easy movie to like, let alone love. It challenges the audience, and that is an admirable thing, as long as they’re willing to suffer the consequence that people may ultimately decide that they don’t like the movie because the supposed protagonist is an unrepentant jerk.

The film covers three product launches, peppered with a few informative, non-linear flashbacks, over the course of 14 years. The first one takes place in 1984, where Jobs is about to launch the Macintosh. Ridley Scott’s “1984” ad during the Super Bowl had everyone talking, and now it is up to Jobs to deliver. The only problem is, the Mac isn’t ready, and yet he still tells the press that he anticipates record-shattering sales. Before he makes his presentation, though, he has to deal with Chrisann Brennan (Katherine Waterston), mother of Jobs’ daughter Lisa, though he refuses to acknowledge Lisa as his daughter. Next up is Steve Wozniak (Seth Rogen), the man with whom he invented the first Apple computer in a garage, and the two are still quibbling over what turned out to be game-changing innovations that Jobs rejected out of hand.

Lastly, there is John Sculley (Jeff Daniels), Apple’s then-CEO. Jobs has a moment with Lisa, Woz and Sculley at every launch, each with varying degrees of contrition at different times. Still, it’s pretty clear that Steve Jobs was a first-class asshole, and every one of them has a right to be angry with him. Are we having fun yet?

It’s interesting to see a major studio make a film about a man who’s revered in Hollywood circles – Apple’s inventions have certainly made modern-day filmmaking easier, that’s for sure – and have the nerve to beat him to a pulp. One wonders if that was how they got Danny Boyle (“127 Hours,” “Slumdog Millionaire”) to sign on as director in the first place. He’s not one to make a puff piece; hell, they probably pitched it to him as the “Trainspotting” of biopics, and that’s an apt description. This is brutal stuff, the kind of movie that makes people feel good about themselves because they’re not Steve Jobs.

There is a wealth of acting talent in this film, yet surprisingly, Kate Winslet proves to be the film’s biggest weakness. Playing Apple’s marketing director and unofficial Jobs assistant Joanna Hoffman, she sounds as American as apple pie until Jobs mentions her Eastern European background, after which her accent slips into gear, only to falter later. Daniels might seem out of place with this group, but he is well versed at speaking “Steve Jobs” screenwriter Aaron Sorkin’s dialogue during his time on “The Newsroom,” and more than holds his own against Fassbender. Fassbender, meanwhile, plays Jobs exactly as he is written: petty, driven, paranoid and confident that he’s the smartest guy in the room. The flashiest thing about his performance are the multiple hairstyles he sports throughout the film, and that is the right call. Boyle opts to keep the camera work simple, save for a couple of fun shots of a crowd doing the wave before the Macintosh launch. He kept the focus on his main character, and again, that is the right call.

“Steve Jobs” is the ultimate anti-biopic. It’s the story of a guy whose greatest skill is manipulating everyone around him to bend to his will; they make a point of that in the film, though they use a much more flattering analogy. However, it is also a film without mercy which, considering the subject, is fitting, but it comes with the guarantee that no one will walk out of this movie thinking better of him than they did when they walked in. In a way, one can make the argument that Jobs got the movie that he deserved.

Earlier this morning, Microsoft made waves by announcing that it would be pulling out of the Consumer Electronics Show. The announcement was made by Frank Shaw, Microsoft’s head of communications, on the company blog. CEA, the organization that runs CES, claims the opposite, that they chose to give Microsoft the boot. In any case, this is a pretty serious blow to the trade show, and it points to the growing sentiment that trade shows have lost their relevance. As I’m sure some of you remember, Apple did essentially the same thing when it backed out of MacWorld in 2008.

Really, it doesn’t much matter who dropped whom; the end result is the same. CES just took a huge hit, and it’s a hit the CEA should have seen coming. For my part, I’m willing to bet Microsoft backed out. As the company stated, their product releases haven’t lined up with CES keynotes, which is certainly true. There was this other company that held its own keynotes for major product releases, where it would show off finalized versions of products that were ready to ship the same day. You know, that company with the second largest market cap in the world. I’m sure you know who I’m talking about.

Also, as the CEA, why kick Microsoft off the keynote? Who will take their place? Remember, this is the CES. This isn’t a developer’s conference. There won’t be major web properties making keynotes for CES. So who fills Microsoft’s space? More importantly, who forks over the cash to do so knowing the CEA may give them the boot next year? No one. That’s who.

If anything, Microsoft is trying to take control of its hype cycle, in exactly the same way Steve Jobs took control of Apple’s. There is one key difference – the products. Microsoft hasn’t gotten into the hardware game, which makes a product keynote much duller than the Apple counterpart. So much of Apple’s product launch success is tied into showing off a complete product. Microsoft can’t do that, at least not without the help of manufacturers, and manufacturer issues remain a huge source of complaint against Microsoft products. Still, I think moving to Microsoft-sponsored events gives the company a chance to more closely connect with its own fanbase, which Microsoft could really use.

The idea that the CEA would kick Microsoft just makes no sense. Trade shows have been losing traction for years. The last thing the CES needs is a disappearing act from one of the biggest draws for the show.

Steve Jobs
By Walter Isaacson

This isn’t just a great biography. Isaacson is a very talented writer, historian and storyteller who’s written about great men such as Ben Franklin and Albert Einstein. Jobs is also a fascinating figure, but the difference here is that Steve Jobs just passed away this year, and we’re able to read about a man whose accomplishments and impact on society are so fresh in our minds. Practically everyone who reads this book can relate to Jobs’ inventions and innovations, making the story that much more compelling.

This was made possible because Jobs gave Isaacson access during the final years of his life, and Jobs was willing to open up and let Isaacson see him for who he was, warts and all. We see a man who was both brilliant and petulant. He was extremely passionate but often rude and insulting. We see how Jobs’ obsessive attention to detail and passion for products led to his stunning successes, as well as some of his more spectacular failures.

One of the more fascinating story lines involves his rivalry with Bill Gates. Jobs was obsessed with total control over his products and insisted on closed systems so he could control the user experience. Job relied on his intuition and his maniacal attraction to beauty and simplicity. Gates believed in open systems and was eager to license his software to a wide variety of partners, even if that meant sacrificing the user experience and quality. Gates was the clear winner early as PCs dominated Macs and Apple almost went bankrupt, but Jobs had the last laugh as he pushed Apple to revolutionize consumer electronics with the iPod, iTunes, the iPhone and the iPad.

The book is a great read, and it’s a great gift for anyone who likes biographies or is interested in technology or business.

Everyone Loves You When You’re Dead: Journeys into Fame and Madness
By Neil Strauss

On the back of this book, which is a compilation of interviews and other wild stories from Neil Strauss’s career as a rock journalist, Strauss states, “You can tell a lot about somebody in a minute. If you pick the right minute. Here are 228 of them.” Strauss is a master storyteller, and we got our first introduction to his work years ago when he wrote “The Game,” which in our opinion is the best book you’ll on pick-up artists and dating advice for men. Strauss uses some of the same skills he learned as a pick-up artist to get celebrities to talk to him. His use of a mind-reading illusion to get Britney Spears to open up to him is a classic. Strauss recounts all sorts of bizarre encounters, from shooting guns with Ludacris, being kidnapped by Courtney Love and being told off by Prince. As a writer for Rolling Stone he had access to everybody. The book is very entertaining and makes for a great gift for fans of music and/or celebrities.

The Big Show: Charles M. Conlon’s Golden Age Baseball Photographs
By Neal and Constance McCabe

Is baseball starting to get its groove back? The American Pastime has had a rough go recently, particularly with the steroids scandal that upended many of the great records that helped define the game. Baseball’s glory days now seem so long ago. Yet Major league Baseball has been getting some good news, as they avoided the labor troubles we’ve seen in football and basketball, and we’ve just come off one of the most dramatic World Series comebacks in baseball history.

This book compiles golden age baseball photographs taken by Charles M. Conlon taken between 1902 and 1942. The book features over 200 portraits, and the authors include well-written profiles of the players featured on each page, including quotes from the players themselves. Photos include baseball great such as Babe Ruth, Connie Mack, Phil Rizzuto, Walter Johnson, Tris Speaker, Joe DiMaggio and Lou Gehrig. Many of the photos have never been published, and this makes a great coffee table book. Baseball fans will love it.

It may seem late in the year to take a look back on the death of Steve Jobs and the legacy he left behind. We’re more than a month out at this point, which even to me feels more like a year, but I think this is a good time for it. The iPhone 4S is now sweeping across the world, faster than most expected, bringing us one of those strange and uniquely Apple experiences, Siri. A lot of people thought the iPhone 4S was the wrong product to launch after Jobs stepped down from his position at the helm. To me, though, the iPhone 4S was maybe the last brilliant move from Jobs, with Siri giving us a look at the new Apple.

This won’t be a shining eulogy to Jobs as the greatest technological mind of our time. That’s not really my place and frankly, I don’t think it’s very accurate. My only point here is that Jobs left the world as he lived in it – carefully and intentionally.

The iPhone 4S was definitely a disappointing announcement for a lot of people. We had been hearing about the iPhone 5 for long enough that, in the light of Steve’s retirement, it seemed inevitable the iPhone 5 was the announcement to make. With Jobs gone, Apple needed to send a message that it was still plowing ahead, right? That it would be at the forefront of technology, always pushing to deliver the next great thing, right?

No. That has never been Apple. Apple has never been first to market. That’s not what Apple does. Apple is not about being the first anything on the market. Apple is about being the most complete experience on the market. When the iPod first launched there were dozens of MP3 players to compete with. The difference, of course, was iconic design and a simplified interface. It was simply better than the alternatives. The iPhone was no different, and please, let’s remember what the iPhone was like when it originally launched. You know, before the App Store. The product has definitely come a long way – Apple’s market cap is a testament to that – but when it launched it was simply a cleaner, more stylized, more complete way of doing things.

It’s also important to remember how Apple launches a product. It does so regardless of hype. It does so without even considering our expectations. Apple releases products when they are ready and that’s a big part of the company’s success. The iPad was a success at launch because it was a complete product. It wasn’t something pushed to market just to have a tablet. The iPad was actually late to the tablet game, but it has since gone on to define that segment of the market.

This is the Apple the world knows and loves. It is methodical. It is plodding. It is sometimes downright slow. But it is also beautiful and well-crafted and damn fun to use. In the wake of Steve Jobs’ death, that’s the Apple I hoped to see. When Apple starts pumping products out faster than you can buy them, then Apple is no longer Apple. The iPhone 4S is a quintessential Jobs-era product. It is an improvement on an already functioning piece of technology. It is beautiful. It is damn fun to use. It is only slightly more powerful than its predecessor but it’s still selling millions of units.

The truly weird part of Apple’s iPhone 4S announcement was Siri, a new digital assistant that launched as a beta. While Siri seems great when it works, it certainly doesn’t work well all the time. That’s the difference between Jobs’ Apple and Tim Cook’s Apple. I won’t say that Jobs wouldn’t release Siri in its current form. He might have. But if I had to make a bet, I’d say this was Cook’s call.

That’s not to say I think Tim Cook can’t keep Apple on top of the tech world. He will. If anything, the iPhone 4S proves that. It’s a conservative play from a traditionally conservative company, even under new leadership. It’s exactly the kind of product Jobs would launch with just a taste of something new. This is the future of Apple – solid products with just a taste of something new.

Steve Jobs, one of the most important people of our time, passed away today at the young age of 56. It’s all over the news, and everyone will have something to say about it. I would suggest reading his own words from his speech at the 1985 Stanford Commencement. It’s a remarkable explanation of his view of life, and it offers an inspiring perspective that all of us, particularly young people, can use in our own lives.

Practically every guy enjoys Playboy magazine whether they subscribe or not, and old issues are treated differently than those of other magazines. We don’t want to throw them out, particularly those with our favorite Playmates. So collectors and even casual fans have boxes of old issues in their closets and garages.

Now Bondi Digital Publishing has come out with a product that every Playboy fan will love – a USB portable device that gives users immediate access on their computer to every issue from that first iconic Playboy featuring Marilyn Monroe in December 1953, all the way to the December 2009 edition featuring Chelsea Handler– and every issue, award-winning article and advertisement in between. There are over 650 issues and more than 100,000 pages covering a span of 56 years. As for adding content after 2009, a decision hasn’t been made yet on whether that will be offered, though the device can be easily updated.

The Playboy Cover-to-Cover Hard Drive is pocket-sized and very easy to use, and it’s fun to browse through all the old magazines. Naturally the pictorials will be the most popular – some of our favorites include Cathy St. George from 1982 and Christina Leardini from 1991. But Playboy has always been an influential magazine as well as Hugh Hefner featured some of the best writers of the past 50 years from Norman Mailer to Tom Wolfe. The interviews are excellent as well with an incredible variety of subjects from Steve Jobs to Jimmy Carter to Brett Favre. The software makes it easy to find items through a robust search feature, and it’s easy to browse old issues as well. We found a couple of minor glitches, but representatives from Bondi explained that updates and fixes could be downloaded seamlessly.

Priced at $299.95 this isn’t an inexpensive item, but there’s a ton of value packed into this device. Collectors will love it, along with casual fans as well.