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

Review: WINTER'S BONE

Sometimes a film comes along that is so highly praised that it can’t be ignored. Such is the case with Winter’s Bone, a independent drama that is being called “graceful” and “chilling” by critics across the country.

Winter’s Bone centers on Ree Dolly (Jennifer Lawrence), a 17-year-old Ozark girl who is the sole caretaker for her two younger siblings due to a mother with disabling depression and an absentee father who is in and out of jail because of his involvement with Methamphetamine. Already struggling to make ends meet, she is informed by the town sheriff that her father has offered up their house for his bond and if doesn’t show up to his court date the following week, the family will be forced to leave. Ree sets off to find him, meeting up with bad company along the way. To say that Lawrence’s performance is good would be an insult and an understatement. Lawrence knocks it out of the park as Ree, using strong facial expressions and silence to define her character. John Hawkes also does an amazing job playing Ree’s uncle, Teardrop, a crank addict like his brother whose relationship with his family proves to be complicated. The film’s Ozark setting is breathtaking as well, displayed beautifully by the cinematography.

The biggest problem I have with Winter’s Bone is that its emotional core isn’t necessarily all there. By that I mean that I struggle to feel much empathy for Ree because the director, Debra Granik, puts so much effort into trying to make her audience feel sorry for Ree’s rough conditions. It ultimately feels far too forced. Granik should have focused more on her protagonist’s transformation, which fell flat. Teardrop’s transformation was much more palpable, making him the more interesting character in the end.

To be blunt, Winter’s Bone is this year’s Precious. Its main goal is to garner acclaim and be nominated for awards come January. You should see it for Lawrence and Hawkes’ performances, but wait for the DVD. I’ll be interested to see if Granik succeeds in hooking the Academy with this bait.

Rating: 3/5