I was a big fan of Fight Club whenever I got to see it earlier this year, and while I wasn’t as big a fan of The Curious Case of Benjamin Button, it’s undeniable that the guy has a serious knack for telling great stories. When I first heard the concept of making a film about the Facebook, I immediately assumed it was just going to be a quick cash grab. That might have been the case had another team taken on the job, but Fincher and his expert writer Aaron Sorkin craft an impeccable narrative. They take what could have been a mess of a story about what could have been a boring “fable”, and mold it into one of the year’s best stories that will leave you wondering around every turn what’s about to happen and how we end up in that trial room. “Why does Eduardo hate Mark so much?” “Why is Mark so bitter towards, well, everyone!” “What’s up with that one Winklevoss’ haircut?”-MOST of those questions are given slowly but surely by Fincher and Sorkin, slowly pulling the rope and leading you farther and farther in. It’s sort of hard to spoil a movie about the fate of the website I currently have in another tab (spoiler alert Facebook exists), and I’m not even going to attempt to or even try to encapsulate all the great themes of the film.
While Fincher’s film iterates the way our film looks at social situations in an age of blackberries and iPhones instead of written mail and actually talking on the phone, it’s themes are timeless. Isolation, betrayal, love, anxiety, the greater good, the fear of failure, the euphoria of success and how it can all come crumbling down are all themes effortlessly snatched up and put on display for the cinematic world to see within a two hour running time. The film gracefully transitions between the trials and the events that led up to them, and by the end of the film you’ve gotten this majestic sense of time to where you feel like you know the complete, tragic story, and you’re not even ready to leave the theater. While some may not consider the idea of a “Facebook movie” to be all that interesting, the end result surprisingly came out to be one of the most compelling, if not always factual, film events of the year, getting to see a master of storytelling tell a masterful story. Sure, it may not be all that accurate, and to be honest, I don’t care. A good movie’s a good movie, and they’re still telling the same story, even if some things are a little Hollywood-ized, although to tell the truth the film’s not as fictionalized as some make it out to be. When it came down to it it’s really a beautiful mold of a classic story within a new frontier, it’s like a cinematic hybrid. It’s the quirk of Juno meets the intrigue of The Bourne Identity, the board room fights of A Few Good Men but over intellectual property. Some have compared the film to classics like Citizen Kane, and to be honest they’re not far off. This is going to be a film that’s remembered for quite some time, and I’d be shocked if it didn’t win Best Picture come March. It also doesn’t hurt that Fincher has the time to put in some style for good measure. There’s a good bit of really effective comedy that works really well when the dialogue of hundreds of millions of dollars lawsuits isn’t rambling on, and the fact that Fincher paints a lot of the film in a gray-ish, bland tone is understated but is still effective. In my American Literature course I’m enrolled in now there’s a term we’ve been discussing, and it refers to when an author brings the finale of the film to reference all the film itself in a seemingly perfect way that “wraps up” the movie into a nice little package. Forrest Gump did this with the feather, The Princess Bride did it with the grandfather’s final line of dialogue, and Fincher does it in this film with an ending that leaves some glimmer of hope in a pretty desolate scenario. The Social Network is a magnificent movie. It speaks to our generation by not only giving a “origin story” to one of the biggest facets of our day-to-day life, but by also delving into some of the problems that people my age deal with. “How do I fit in?”, “Where am I supposed to do with my life?”, “How do I get people to like me and not ruin every single close relationship I have?” It doesn’t stop there, and that’s what sets it apart, it still combines that with an incredible cast and some true filmmaking genius. Don’t listen to my words though (he said at the end of the review), just go see this film. Even if you hate the actors, the director, whatever, see it for the commentary it has for society. If you hate society, see it for the film-making. It’s a complete package. I don’t say this very often, but there’s nothing much wrong with this movie, unless you’re going in not a fan of the idea of a Facebook movie and you also just so happen to be a person that doesn’t like good film. The Social Network is going to be a tough act to beat for the rest of the Fall, it’s an unforgettable masterpiece of film-making genius that is going to be on many people’s minds, and hopefully a lot of people’s Twitter feeds for quite some time.
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The Social Network is a 2010 drama film directed by David Fincher about the founding of the social networking website Facebook. The film features an ensemble cast, which consists of Jesse Eisenberg, Andrew Garfield, Justin Timberlake, Brenda Song, Max Minghella, Rooney Mara and Armie Hammer.
The film was written by Aaron Sorkin and adapted from Ben Mezrich's 2009 nonfiction book The Accidental Billionaires. The film is distributed by Columbia Pictures and is set for an October 1, 2010 release. None of the Facebook staff, including founder Mark Zuckerberg, will be involved with the project. One of the co-founders, Eduardo Saverin, was a consultant for Mezrich's book. The film is distributed by Columbia Pictures and was released on October 1, 2010.