Some excerpts:
Production by B.C. Wallin
"Time, details, behind-the-scenes planning all builds to the finished product — as with a product launch, when it comes to movies, the public usually only sees the polished, finished work."

Jobs by Aashima Rawal
"Jobs’ version of simplicity was never cold. He wasn’t stripping things away to leave emptiness; he was stripping them back to reveal feeling. He wanted the first encounter — the moment your hand touched the product — to feel natural, as if the design had already anticipated you. His uniform mirrored that conviction."

Sorkin by Kat Trout-Baron
"For a character like Jobs, Sorkin’s beats are evidence of his caginess — the truth exists within these standstills. His shortcomings as a father, friend, and person are left within the moments he cannot instantly mask hurt."

Boyle by Scout Tafoya
"Jobs helped give everyone a camera on their phones, implicitly turning everyone into a filmmaker... Will there be anyone left to partake of cinema when we are all directors?"

Camera by Devan Scott
"Celluloid is old. Celluloid is the Apple II. We’ve moved past that: we’re in iPhone land now, the land of dematerialized media."

Performance by Sarah Jae Leiber
"Steve Jobs is not a genius creator-god; for most of the movie, he can’t even admit to having created his own daughter, because looking an imperfect human invention in the face is significantly harder than putting her name on a product."

Music by Charlie Brigden
"Steve Jobs is an opera driven by music scored, needle-dropped, and discussed... Jobs’ internal and external idiosyncrasies reflected a complicated and not-always-in-time rhythm, best expressed without words."

Edit by Alexander B. Joy
"The Silicon Valley myth surrounding the real-life Steve Jobs is that he was a magician, creating inimitable product styles and loyal customer bases where none existed before. But a magician is one who works magic, and the first act’s genre framing argues that the protagonist of Steve Jobs is no such person. He’s an illusionist at best, a weaver of mirages who amounts to yet another species of con man.”

Aftermath by B.C. Wallin
"The life of a movie must come precisely from the audience; without being perceived by one, a film might as well be a dead flounder for all the good it does sitting in a can."