‘The Social Network’ is amongst the best films of the last decade.

Based on the novel, “The Accidental Billionaires,” the film surrounds Havard Undergrad and computer genius Mark Zuckerburg as he begins work on a new idea that eventually turns into the global “social network” known as Facebook.

This particular film is adapted by Aaron Sorkin from the book “The Accidental Billionaires,” in which it won an Oscar for. It received widespread acclaim for its editing, acting, score, and screenplay despite it’s reported inaccuracies.

In our modern society, social media is a new way to communicate with friends, family, and the world around us without even having to get out of bed. With Facebook added to the mix, friendships, relationships, and even in some cases, family, can be reunited and utterly destroyed. The film is an examination of this evolving cultural currency.

Peter Travers from Rolling Stone magazine, “The Social Network is the movie of the year…but Fincher and Sorkin triumph by taking it even further. Lacing their scathing wit with aching sadness, they define the dark irony of the past decade.”

The film is taught with creation and destruction; a film that creatively avoids a singular, one-sided point of view. Instead, it tracks multiple narratives, mirroring the conflicting truths of each of the characters that ultimately define our time. It shows how an idea can draw two people, how an idea can draw groups of people, together for one thing yet pull them apart in so many other ways.

The writing is both intelligent and demanding on a multitude of levels and is very clearly a Sorkin-esque screenplay. It no time to waste. The script launches you into their world right off the bat with cleverly written dialogue delivered at spit-fire pace, especially the dialogue given to that of Mark Zuckerburg’s character. He has a wealth of information within him, and sometimes it’s a struggle to fully comprehend what he’s character is saying without fully concentrating. But that, is in essence, what the film, and ultimately Facbeook, is really like. It contains such a wealth of information about so many lives that it would be a task in itself to constantly keep updated.

Sorkin’s development of the character’s is quite remarkable, with Zuckerburg never fully capable of constraining is occasional scattered (as seen in the opening sequence), almost self-righteous dialogue and contrasting with Eduardo, his former best friend, who almost stops short of voicing what he truly feels.

And despite the high-tech nature of computer programming, through the screenplay, it is made clear.

Armie Hammer, who plays both the Winklevoss twins, says Fincher “likes to push himself and likes to push technology,” and is “one of the most technologically minded guys I’ve ever seen.” This rings true as Fincher, along with his visual effects team, successfully managed to transplant Armie Hammer’s face onto another actor’s body to create the Winkle-vii. A comparison of this can be seen in Tron: Legacy (2010) where Jeff Bridge’s face can be seen to be de-aged about 20 years imperfectly. His face seemed mechanical and unrealistic, compared to the smooth, uninterrupted nature as seen with the Winkle-vii.

The Social Network is one of the few films that lived up to its expectation.

It’s impeccably scripted, beautifully directed, and filled with finely executed performances. The Social Network is modern filmmaking at its finest.

Film-O-Meter: 10/10


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