Director Danny Boyle’s latest motion picture, Steve Jobs, includes the Apple pioneer's infamous boast that while his engineering cohorts – Steve Wozniak and Andy Hertzfeld – were skilled “musicians” in the computer world symphony – he, himself, was the conductor who played the orchestra. A claim of startling arrogance but delivered with such brio that it is tough to deny. The musical analogies do not stop there in Boyle’s terrifically enjoyable film based on the biography by Walter Isaacson. Screenwriter Aaron Sorkin has written a set of beautiful chamber duets that showcase his sparkling, incisive and bristling dialogue. Boyle and Sorkin have constructed this baroque film in three movements, each corresponding to the premiere of a new Jobs’ product – 1984’s Macintosh, 1988’s NeXT cube and 1998’s iMac. Most of the film’s action is set in the wings of the hall where the product is being introduced and where Jobs (a masterful Michael Fassbender) demeans technicians (Michael Stuhlbarg), spars with corporate handlers (Jeff Daniels), cajoles and dismisses allies (Seth Rogen), but lovingly waltzes with his tireless marketing manager (a marvelous Kate Winslet). A leitmotif regarding Jobs' paternity is woven nicely through the three movements and moves to center stage in the film's exuberant and touching finale. Audience members may not like Jobs much after the film but they will certainly love the picture. Highly Recommended.