The Social Network

Where other directors test their own limits, David Fincher peacefully paints a picture that defines perfection. The Social Network won’t get to you with details, but with its ability to speak to the audience with such a banal story that could, on a smaller scale of course, be happening at every other university right now. This is Fincher’s most modest film in terms of form, but his densest in terms of content, and its most powerful moment is a shot of the protagonist, who has gained and lost everything at the same time. It’s a conversation movie, portraying relationships in university dorms, that doesn’t celebrate the American dream of the new millennium but shows the price that one has to pay for it. Without any sentiment or defense of positive values – what we see here is rather the absence of those. The reason that Fincher conceived the race on water the way he did is because any other filmmaker in his place wouldn’t even have thought of it. The film is a commercial move on the studio’s part (a low budget plus Facebook’s popularity equals certain profit), but thanks to the filmmaking quality, it’s also an exemplary character study, valuable as a record of the period and the people living in it, which makes it the biggest cultural and film event since United 93. The Social Network is the most deserving candidate for the (nonexistent) Academy Award for the best independent film (like Juno, Sideways, etc.) to come along in many years. (11/06/2010)

A masterpiece that matures with each viewing. Brilliantly directed, inventively scored by Reznor, perfectly edited, with flawless casting. First of all – unknown to me until now – Andrew Garfield impressed me with his masterful performance (great hope for the next Spider-Man), but the slightly autistic talented asocial Jesse Eisenberg is not far behind him, I believe that in both cases Oscar nominations at least are certain. Every era had a significant film that characterised it, went to the heart of its essence and became timeless, and Fincher's work, in these times of the information technology boom and the fearless entrepreneurship of the young generation, is such a film. (01/14/2011)

Jakub Smutný commented on the video of user David Fincher: “Good job, mate.” This comment was shared by 240 users of Rotten Tomatoes. David Fincher joined the group "Waiting for the Oscar." Aaron Sorkin became a fan of the page "AwEsOme StORies." User Lucinka Mišiczka Šmudlinková wrote on the wall of user The Social Network: “I didn’t like it at all, very boring, but it has the actor of Zombieland :-*.” Jakub Smutný joined the group “People against teenagers in cinemas”. David Fincher wrote a message on the wall of user Mark Zuckeberg: "Sry, bro." User Film Fans is friends with David Fincher, Jesse Eisenberg and Justin Timberlake. You and Film Fans have 3 friends in common. Jakub Smutný is attending the event “Other screening.” I like this. Share on Facebook. (10/31/2010)

Eleven years have passed, and with it Fincher's visual exhibitionism, and here is a film that assaults the senses in the same way that Fight Club once did. The generational thinking that it's no longer about breaking out of the system, but being part of it is "awfully cool." I’m not a nerd, nor do I understand IT, but Zuckerberg does. Like. (11/08/2010)

I'm not enticed, but there's one thing I liked about the film - its conception is totally "anti-Facebook", when it emphasizes the "weight" of the film language, the precise construction of dialogues and the rapid combination of space-time planes. As a result, it feels like a biased but distanced testimony about one social phenomenon, a group of people who today shape society as strongly as state apparatuses. I get the frequent comparisons to There Will Be Blood, even though Fincher is losing here all across the board. Zuckerberg and Plainview are characters who share their passion for fleeting essence, but in this respect, PTA managed to descend much deeper than David, who seems at times enchanted by superficial magic (e.g., rowing races, which are aesthetically riveting, but kind of out of concept) and, above all, limited by the fact that Sorkin, for obvious reasons, cannot be as controversial in Mark's psychology. The motivation for the whole social experiment sounds quite constructed after all. But all respect for the fact that for two hours I watched people I do not understand and despise in a way, and I had an excellent time and understood a lot. And without scruples, I say: Zuckerberg may be a weird son of a bitch, but he's definitely a big hot-shot. By being anti-social, he captured something that has been present in the human psyche and society since ancient times. (10/30/2010)

Cherchez la femme. Unlike the “other" Facebook, this is timeless in every way, thanks among other things to the fact that it is not about mugbook as such (that would be a bit premature, after all). It only plays the role of a crutch here, not unlike the role wrestling plays in The Wrestler. I have an irresistible urge to click “Like". (10/28/2010)

A nice 10 year old film from David Fincher about the creation of Facebook. I don't even know why I put if off for so long. Jesse Eisenberg, Andrew Garfield and Justin Timberlake are excellent, the idea is timely and offers a nice insight into the life of a young Mark Zuckerberg. For a biopic, the film is both gripping and quite suspenseful, and above all very interesting. Story*****, Action>No, Humor>No, Violence>No, Entertainment****, Music***, Visuals****, Atmosphere****, Suspense****. 8/10. (09/25/2020)

The movie was thoughtful and "brilliantly simple" just like Facebook itself. Throughout the movie, I almost believed I was watching reality and that Facebook was being created right before my eyes. In short, well thought out to the smallest detail. There's no doubt that Fincher succeeded. But I personally was surprised by the performance of Justin Timberlake, who I had not considered an actor until now... 4.5 stars. (06/09/2011)

The Social Network is not a film about Facebook, the internet, or social networks, and it is not even, in the true sense of the word, a biography of the founder of the Facebook company. It is a film about the desire for excellence, about ruthless ambition, where excess baggage is discarded on the way to success, and friends and loves are lost. It is a film about entrepreneurs who can build an empire out of nothing and who must possess qualities that would exclude them from mainstream society. Success, however, can silence the critics. And that's probably how it goes with big projects. A similar film could be made about Ford or Rockefeller. At the end of that journey, the hero is celebrated and favored, yet lonely and sadly clicking through his Facebook profile, hoping to regain a piece of his past. From a filmmaker's point of view, it is a brilliant film where every detail, from editing and camera work to the music, reveals one of the best directors of our time. It's not a popcorn flick, but more of a film for connoisseurs. Overall impression: 90%. (10/28/2010)

Sorkin's dialogs — perfected to the smallest detail, heady visuals, and Fincher's flawless directing make this “movie about facebook" one of the experiences of the year. All the characters are thoroughly dissected and the actors pour out their best. Eisenberg managed to slip into a nerd's shoes perfectly, and is more than convincing in his portrayal of Zuckerberg. Garfield wasn’t at all dazzling (I still don't understand why he's gonna be the next Spidey), but he came across as the most likable player in this squad. In any case, nothing can be said against him. But, I was very impressed by the duo of rowing twin brothers; Armie Hammer was very convincing in both roles. And the details, the details: the camerawork in the club scene, the lost race with an electronic version of In the Hall of The Mountain King roaring away, and so on. Speaking of the music - superbly done work. Very Ghost V. Drop the "the". Just ‘Facebook.' It's cleaner. (11/08/2010)

As a small TV movie, it would make sense, but it had no business being in the movie theater. It's just as bad and unnecessary as most "based on true events" movies, and the fact that Justin Timberlake can act and I consider some of Fincher's older movies to be good changes nothing. The widespread success of films like The Social Network is just proof that moviegoers reset their processors and reinstall everything from scratch with every new movie experience. Otherwise, it would be impossible for a new series of equally washable boring films to come along every year and be received with open arms. Yay, is that great epic Tetris movie out yet? At least Seth Rogen could have been in it. (02/10/2011)

A brilliant film about a genius made by a genius. Unlike Facebook, however, the film is far from addictive and I don't feel like watching it again at the moment, which I see as a basic drawback. The question remains whether the desire to repeatedly watch a film is a sufficient appreciation of its quality or not, but that is pure speculation. (01/01/2011)

Frankly, I was afraid that the film would be a promotion of Facebook, which is something that doesn't need to be promoted. Fortunately, I was wrong and this is an easily watchable story about how money and the desire for fame destroy friendships (if they existed before). Moreover, the protagonist is not a hero or a sympathetic character in the style of the characters from The Big Bang Theory, but rather a constantly chattering and annoyed-looking evil elf with whom very few people would want to have anything to do in real life. Fortunately, he was played (well) by the eminently unsympathetic Jesse Eisenberg, so the illusion was perfect. But I liked Rooney Mara the most, who did something absolutely brilliant in the opening scene, and of course one actor, Armie Hammer, as the two Winkelvoss brothers. I have no issues with the direction, the music is great (I mean the "cover version" of “In the Hall of the Mountain King" and the Beatles in the end credits)... Four and a bit. (10/04/2013)

David Fincher showed that even the biography of a living person can be truly thrilling, interesting, and gritty. Mark Zuckerberg is an interesting, somewhat controversial figure, but thanks to this portrayal, his life becomes even more fascinating. Jesse is absolutely terrific, which I must admit, I didn't expect from him. He set the bar very high for himself. (03/28/2014)

It is perhaps clear to everyone that The Social Network cannot give a completely fair and trustworthy account of the whole event, and consequently of Mark Zuckerberg's character and conduct. It would be inappropriate to condemn his personality as it is portrayed in the film – as a selfish, arrogant, conceited, and anti-social nerd who actually stole the Winklevoss twins' idea. Moreover, the film was based on the book The Accidental Billionaires, which charts the whole phenomenon through the eyes of Eduardo Saverin (Saverin himself approached the writer Ben Mezrich with an offer to write a novel about the origins of Facebook), which cannot be considered an objective and impartial source – I don't want to spoil anything, so I'll just say that it has to do with the way Saverin figures in the whole affair. On the other hand, if I had to say who I sympathize with, either from my own point of view or from the final impression of the film, I found the Winklevoss brothers, for example, extremely unlikable, because they embodied a typical example of iron-faced, hypocritical ("We won't do anything because we're gentlemen... however would that look?") slimy, wannabe friendly, patronizing scumbags and individuals who must always get away with everything at all costs. How it actually was, how much of a concrete form (and thus the subsequent contribution to the creation of the future largest social network) their "start-up" idea had, we will never fully know anyway. As for the film itself – David Fincher, with all his early directorial trademarks, remains in the background for virtually the entire film, devoting the space to focused performances from Eisenberg and Timberlake, who truly live their roles. Nevertheless, the film doesn't lack a fast pace (the opening scene in particular is very intense and energetic) and a dramatic momentum that keeps the viewer's attention permanently engaged. I simply can't decide if I like my Fincher more exhibitionist (Seven, Fight Club, Panic Room) or more mature and restrained (Zodiac, The Curious Case of Benjamin Button, The Social Network). The main weapon of Fincher's latest film so far is the fact that it works perfectly as a whole, proving what a complex and brilliant filmmaker David Fincher is. (11/05/2010)

The most inspirational movie of my generation! Fincher deserves credit for being able to make an awesome movie tribute to the man who definitively transfered our lives online. Zuckerberg's way of thinking is as cool as Trent Reznor's score, and Eisenberg’s one-man show is a definition of a ‘tailor-made’ role. (08/10/2015)