I think we can all agree on two things: David Fincher is a solid filmmaker (even though I'm probably the only person on the planet who isn't keen on
Fight Club [long story]
, I'm considering giving it a second watch), and
The Social Network is kind of a step out of bounds for Fincher, whose filmography - including
Se7en,
Zodiac, and
The Game - reads more like a list of "creepiest movies of our generation" than an application to direct a biopic-of-sorts about the founders of Facebook. But Fincher's nothing if not dextrously versatile, and
The Social Network adds another notch to Fincher's "here's what I'm capable of" belt.
The Social Network is a highly unflattering portrait of the people who claim to have "invented" Facebook, arguably the most high-profile Web site since Google - the antisocial and nominal founder Mark Zuckerberg (Jesse Eisenberg), his financier and best friend Eduardo Saverin (Andrew Garfield), Napster founder and Facebook's demi-PR guy Sean Parker (Justin Timberlake), and rowing team twins Cameron and Tyler Winklevoss (both played by Armie Hammer), who claim intellectual property rights - and the lawsuits that divided all of them. The film cuts between legal depositions of the main characters and the events they describe, methodically and deliberately leaving the audience to interpret what went wrong and who (if anyone) stole from whom.
Fincher does a solid turn directing here, deftly keeping the pace moving as characters register slights as betrayals and as alliances crumble under the weight of paranoia and profit. Though the film's first cuts between testimonials and actual events are a little jarring for those who didn't follow the Facebook news feed (pun intended), Fincher quickly sorts out who's after what but wisely refuses to spoonfeed us a good guy/bad guy dichotomy. True, the film and its Aaron Sorkin screenplay cast Saverin in a more sympathetic light than Zuckerberg receives, and the Winklevosses are portrayed as jock heavies more than intellectual heavyweights, but it's not clear by the end of the film how we're supposed to feel about the whole thing.
In particular, the film functions a great deal like Cobb's top at the end of
Inception (the significance I won't reveal, so as not to spoil it for the DVD-waiters); it means whatever we project onto it, particularly the ambiguous final shot, scored at least somewhat ironically to The Beatles' "Baby You're A Rich Man." It seems, in the opinion of this reviewer, that
The Social Network is a kind of light jeremiad against the ugly irony of using the Internet as a way to
increase, not detract from, social interaction, and it appears more than slightly condemning of the sort of person who creates something only for public acceptance and the label of "cool." To these people, money is secondary to status, which also subordinates (again ironically) human companionship. One could, of course, read the film's ending as hopeful; title cards let us know that everyone got a little bit of what they wanted all along, but the uncertainty etched into the film's closing cut-to-black is more wobble than topple. It's a testament to Fincher's skill, then, that the ambiguity that pervades the film is more conducive to interpretation than to accusations of waffling.
Fincher also does a fine job pulling together a few "rising stars" (I use the term somewhat skeptically), giving me faith in at least some of the careers-to-be. Jesse Eisenberg, of course, is the undisputed star here, and for good reason; I've decried him as "the B-List Michael Cera" for his turns in
Adventureland and
Zombieland, but here he's starting to come into his own. The simultaneous wave of revulsion and sympathy you'll feel toward Zuckerberg by the end is equal parts Fincher and Eisenberg, with the latter now wielding a more promising future than his character. Andrew Garfield is more sympathetic as Saverin, pulling out all the stops on the road to pathos by plausibly depicting all the ambivalent feelings of his best friend's so-called betrayal; reminiscent of a young James Franco (wow, how old does that make
me, then?), Garfield's making me less nervous about his front role in the
Spider-Man reboots (that and the rumored casting of Emma Stone as Mary-Jane). Justin Timberlake's performance is a little more complicated, however, as I'm not sure if it's Timberlake or the character that's a touch hammy; while Sean Parker is flashy and flighty, my perception of Timberlake is much the same. So it's unclear to me whether what I'm seeing is either very poor or very convincing acting.
Maybe this is just me reading a little too much Gail Simone and other feminist theory, but I'm a bit disappointed with the treatment of the female characters in
The Social Network. This is a boys'-club movie, with the facts forcing an aspect on the men of the story, but all the female characters are fairly one-dimensional and ultimately little more than impetuses for men to act. Case in point: Sean Parker's introductory scene finds him in bed with a Stanford girl, a fact we learn from a lingering shot of her panty-clad derriere; we learn her name (Amy), her major (French), and little else. Though Amy is an inconsequential character in the big scheme, she's indicative of the role of women at large in the story, which is a shame when you have such a talented female cast on board. I'm dying to see Rooney Mara as Lisbeth Salander in Fincher's
The Girl with the Dragon Tattoo, but it's a shame that all she does as Erica Allbright in this film is break up with Zuckerberg and incite him to start an online revolution after his heart breaks (well, maybe). Brenda Song finally gets a chance to break out of the Disney playhouse (after the unfortunate departure of Ashley Tisdale, I gave up on
The Suite Life of Zack & Cody and Song's ditzy heiress London Tipton), but she's essentially window dressing as Saverin's girlfriend Christy Lee; while she's certainly very pretty, Christy isn't asked to do anything else but hang on Eduardo's arm. We're told that she's psychotic and controlling, but there's only one scene where she's allowed to be that - her last one, which is unfortunate considering how well she does in it. And Rashida Jones, of
The Office and
I Love You, Man (whose misogynistic title, curiously, gave her more material than here) fame, is credible as a second-year legal associate who delivers the film's closing monologue - and eulogy of sorts - with sangfroid and aplomb; sadly, that's the first time she does anything more than offer meaningful glances and eat a salad. Ultimately, the film hinges on what Erica Allbright will do next, but it's too little/too late for a film that's so masculine-dominated.
This is not to say that
The Social Network is anti-feminist or flawed beyond salvation. It's merely a disappointing (and for this reviewer, distracting) sin of omission that doesn't
really hurt the finished product. Fincher does such a good job with the rest of the movie that he almost atones for the negligible treatment of the fairer sex. What Fincher has made here is a work that examines both a particular true story and the nature of "true stories" themselves; wisely, the movie is credited as "based on" a book about the true facts rather than on the "true story" itself, which invites a whole host of questions about what's true and what isn't. Like
Rashomon,
The Social Network suggests that truth is subjective, and (like
Lost) argues that who the characters are and how they interact with each other is ultimately more important than what they're doing.
If nothing else, the film might lead a few viewers to go home and deactivate their Facebook profile, so unflattering is the creation myth behind the social networking site. As for the movie itself, though, I can do little else than invoke the already-labored Facebook pun and state simply, "Like."
With content friendly for the Facebook generation,
The Social Network is rated PG-13 "for sexual content, drug and alcohol use and language." The film implies more than one sexual rendezvous with nothing shown beyond hasty disrobing to the undergarment level; characters abuse marijuana, alcohol, and cocaine frequently, and approximately three F-bombs are dropped.
The Man from
U.N.C.L.E. (2015) – My immediate reaction after seeing this film, one
confirmed by consulting with my resident expert (hat-tip to you, pops), was
that this was a film that didn’t need to be called The Man from U.N.C.L.E. to succeed, both in its construction and in
the general lack of major audience appeal for the 1960s television show. Put
another way, this could have been “The Adventures of Jack and Vlad” without
affecting the plot at all. As it stands, though, we have an entertaining action
flick which would have been just as good on its own strengths; slick CIA man
Napoleon Solo (Henry Cavill) begrudgingly teams up with his opposite number
from the KGB, Ilya Kuryakin (Armie Hammer), to guide an East German mechanic
(Alicia Vikander) into the lion’s den to stop a nuclear weapon from falling
into the wrong hands. I very much enjoyed the period piece aspect of the film,
set in 1963, and the trademark Ritchie sense of humor, reminiscent of Ritchie’s
Sherlock Holmes films. While this is
clearly intended as an opening salvo in a franchise which the mainstream
audience didn’t seem to demand any too highly, Armie Hammer acquits himself
finer than he did in The Lone Ranger;
though it’s difficult to see Cavill and not think “Superman,” he’s well-cast as
a smooth operator, a kind of American James Bond. Vikander is her usual engaging
self, though the film waits until the third act to give her more to do than
wear mod fashion; surprisingly, it’s Elizabeth Debicki, late of Guardians of the Galaxy, Vol. 2, who
gets the meatier role as the scheming villainess. In short, I dug it, and I’d happily watch more installments.
