A MOVIE about the guy who founded the mother of all start-ups comes attached with mega-sized expectations but Jobs, which presents a byte-sized version of the rise and fall and rise again of Apple guru Steve Jobs, doesn't come close to meeting them. It does, however, give us a good sense of who he was, for better or worse.
Mostly worse, if Jobs, directed by Joshua Michael Stern and written by Matt Whiteley, is to be believed. This indie biopic starts with Jobs (Ashton Kutcher) introducing the iPod portable media player to an appreciative audience in 2001, but the rest of the film is in flashback mode, focusing mainly on how he ended up on that stage.
It takes a selective approach in detailing Mr Job's life and career, including well-documented episodes that highlight some of the less-positive aspects of his personality.
The resulting composite may be flawed but the producers, perhaps mindful of a competing drama that will be scripted by Aaron Sorkin (who penned the screenplay for The Social Network), decided that their first-strike capability would give them an edge.
It all begins in the mid-1970s, when we are introduced to Steve Jobs the university student (and soon-to-be dropout) at Reed College in Oregon.
It glosses over his early drug-fuelled influences and his friendship with computer whiz Steve Wozniak (Josh Gad), who first turns him onto the then-foreign concept of the personal computer.
"You can see what you're working on, while you're working it," says Mr Jobs, and we can practically see the wheels turning in his head.
Mr Jobs is portrayed as an entrepreneurial archetype but he can't work with others and he can't work for others either. He's marked for greatness but he's also a jerk when it comes to personal relationships, ditching friend and lover with equal disdain - plus he apparently has issues with personal hygiene. Apple products have soul, but their creator is brutally heartless.
Other Jobs characteristics, such as his affinity for going barefoot and his signature gait, are nicely conveyed by Kutcher, whose decent performance and uncanny physical resemblance to his subject also helps to convince us that we are watching the second coming of Mr Jobs.
The film dutifully chronicles major events in the Apple story, including the product disasters and management failures that led to Mr Jobs' eventual dismissal from the company he created. "If you want to be great, you've got to risk failure," he says at one point, recognising Apple products as the social currency of their time.
There is a comfortable period-appropriate feel to Jobs, from the 1970s music, clothes and hairstyles to filming in the actual California garage in the Jobs family home where meetings and early projects took shape.
Viewers of a certain vintage will also feel a twinge of nostalgia at the sight of the landmark campaign to launch the Macintosh desktop computer in 1984. Mr Jobs sought to raise the technology bar and push the human race forward, and the film is a reminder of how he actually did so.
Unlike the man it portrays, Jobs is not a game-changer, nor is it inventive in any way, but it does bring us a little closer to the person.
"It's a tool for the heart," says Mr Jobs as he presents the iPod. "When you can touch someone's heart, that's limitless."
Jobs is no Steve Jobs - but then he's a tough act to follow.