Review: CATFISH

The new documentary, Catfish, has caused a near uproar regarding its validity. Is it really a documentary or is it just masquerading as one? Is it really “the best Hitchcock film that Hitchcock never directed” or will it deliver a lackluster outcome? Before you get too tangled up in hesitation, let me ask you this: does the story’s authenticity really even matter if the subject still rings true?

Unknown filmmakers Henry Joost and Ariel Schulman center Catfish on Nev Schulman, a 24-year-old photographer living in New York City, and his blossoming internet friendship with a family from Michigan. The correspondence begins when Abby, an eight-year-old artist, sends Nev a package containing an oil painting of hers based on a recently published photo of his. Nev gets in touch with Abby’s mother, Angela, on Facebook and starts to learn about their family, all the while sending his pictures to Abby for her to paint for him. He becomes friends with Abby’s father and brother as well and even strikes up a courtship with her older sister, Megan. However, Nev discovers inconsistencies in some of the family members’ stories and decides to step back from the situation and do some investigating, which ultimately leads him to Michigan and forces him to face the truth.

The controversy surrounding this film’s authenticity proves to be completely irrelevant because, whether or not it is actually a documentary,Catfish speaks volumes about how we as a culture so often blur the line between internet and reality. In a way, Nev takes a risk by placing himself in the in-between for the sake of mass revelation. The sole purpose of this film is to get its audience to ask questions and seek out answers, which I believe it does masterfully. Everything else that I love about the film-from its use of Google Maps as an aesthetic touch to its concentration on even characters’ most minor reactions-is merely a bonus.

Though I think Catfish has a shot at holding quite a bit of cultural value, if only temporarily, it will no doubt leave some viewers feeling less than satisfied. The marketing campaign behind this film indicates that it will be this year’s Paranormal Activity, however, it does not deliver any horrific scares and the “Hitchcockian twist” it boasts is only a plot development. Unfortunately, the film’s misleading insinuations will ultimately overshadow its true nature and keep it from resonating with disappointed moviegoers.

If you are interested in films that have something valuable to say, I highly recommend Catfish. It may not completely embody the tone it appears to upon first glance, but it still haunts, if only in the unusual sense of the term.

Rating: 4/5

Review: THE SOCIAL NETWORK

What do you get when you create a film based on the rise of one of the most popular websites in Internet history? A box office success. And if that film is the brainchild of David Fincher and Aaron Sorkin? A critical success. “The Facebook movie,” as it has been dubbed, has received acclaim from all directions, and for good reason.

The Social Network, as it is formally entitled, chronicles the rise of Facebook and how it affected its founders. Mark Zuckerberg (Jesse Eisenberg), a sophomore at Harvard looking to be accepted into one of the prestigious clubs on campus, makes his mark by masterfully hacking into the school’s computer system and creating a prank website with its content. His actions garner the attention of twin brothers Cameron and Tyler Winklevoss (both played by Armie Hammer), who offer him the task of programing a website they have been working on launching. Mark accepts the offer but deflects the brothers’ attempts at getting together to begin construction, all the while building on their idea and creating “the facebook.” With the financial help of his best friend, Eduardo Saverin (Andrew Garfield), Mark starts the phenomenon that earns him both followers and enemies.

This film proves to be nearly flawless in all aspects, the main reason being the collaboration between Fincher and Sorkin. Fincher knows how to capture tone with his camera, paying careful attention to the characters’ facial expressions and interactions with their settings. Sorkin’s snappy dialog never quits. In fact, the screenplay is so well written that it serves as its own outstanding performance, though it never once overshadows the actors’ achievements. Eisenberg delivers an especially memorable performance as Zuckerberg and is in good company alongside Garfield, Hammer, and Justin Timberlake (who plays the conniving founder of Napster, Sean Parker). To complete the package, the film’s score (developed by Trent Reznor of Nine Inch Nails fame) compliments the overarching theme of deceit with its ominous inflections, thus bringing Fincher’s vision full circle.

Despite being two hours of pure dialog, The Social Network stands as a compelling, relevant testament to this day and age. Its commentary on technology as it relates to social standing and human connection resonates long after the closing credits.

Rating: 5/5