Aaron Sorkin’s latest directorial effort has inspired more curiosity than anticipation. As a quasi-sequel to The Social Network (2010 ), it carries the burden of following a much-loved film.
Excitement has been tempered because David Fincher - The Social Network’s director - is absent. Neither have any of the original cast returned. Instead, Sorkin opted to direct as well as write.
Sorkin’s directorial efforts have been relatively mediocre. The Trial of the Chicago Seven (2020 ) and Being The Ricardos (2021 ) have been completely forgotten, hampered by the time of their release. The Social Reckoning continues the ‘true story’ mold, albeit one much more contemporary.
Jumping between 2019 and 2022, investigative reporter Jordan Horwitz aims to uncover the inner workings behind Facebook and its societal effects with the help of Frances, a disillusioned data scientist, troubled by her employer’s practices. This is interspersed with Mark Zuckerberg and his crisis containment team preparing for his upcoming testimony in the Capitol.
Ignoring The Social Network and judging it on its own merits and creative choices, The Social Reckoning is still a disappointment.
The script is a paint-by-numbers explanation of the steps in Horwitz’s investigation and uncovering of Facebook’s growth-seeking but society-harming measures. It refrains from offering any insight beyond common public perception.
The film also feels dated. Covid-19 is discussed regularly, and influences the narrative, but its concerns lack alacrity when AI is now instead, perhaps, causing sweeping dread.
For a period drama that explores a well-known subject, there needs to be something insightful, thought-provoking or emotionally compelling for it to exist.
This is not cinematic. It pales in comparison to David Fincher’s visually striking direction on The Social Network. Much of the film takes place in the same few locations: a park bench, hotel room, a stage area, and the film does not breathe life into these drab spaces.
Mikey Madison gives a commendably committed performance, but is miscast as the awkward, anti-social whistleblower.
This character needed an actor who is believable as an average, anonymous person, rather than someone with the striking presence of Madison. It is a shame because this follows her well-deserved Oscar for Anora (2024 ).
Jeremy Allen White is not giving much of a performance at all really, portraying investigator Josh Horwitz with the same lack of expression and human emotion commonly seen in The Bear.
These two central protagonists are caricatures, rather than real human beings, designed to move the plot along, with a predictable dynamic - bereft of genuine feeling. Sorkin injects film references and screwball comedy into the dialogue to add levity, but it feels awkward and forced.
This film’s interpretation of Mark Zuckerberg also drew intrigue with Jeremy Strong taking over, resulting in a performance that strips the billionaire of humanity and emotion; basically a hyper-mannered robot who the film treats as a circus oddity. Accusations are levied at Zuckerberg for his ignorance and irresponsibility regarding his decision-making, but the film declines to offer us the possibility of understanding him.
The lack of depth renders the film hollow and unnecessary. It is pointedly anti-Zuckerberg and anti-tech companies, while romanticising the work of journalists and underdog courage.
This film is old-fashioned and disinterested in providing much nuance. It will keep you engaged if the subject is of interest, but a documentary would probably have been more effective.
In Galway cinemas now
