#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – On a fall night in 2003, Harvard undergrad and computer programming genius Mark Zuckerberg sits down at his computer and heatedly begins working on a new idea. In a fury of blogging and programming, what begins in his dorm room soon becomes a global social network and a revolution in communication. A mere six years and 500 million friends later, Mark Zuckerberg is the youngest billionaire in history… but for this entrepreneur, success leads to both personal and legal complications.
Plot: In 2003, Harvard undergrad Mark Zuckerberg creates a social networking site called Facebook with the help of his friend Eduardo Saverin. Though it turns out to be a successful venture, he severs ties with several people along the way.
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Eisenberg was probably born for this role.
The story is well threaded and you don’t get bored until the end. A decent movie.
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Here we go with the fourth review of a David Fincher’s film this week, in preparation for the upcoming Mank, directed by the same person who delivered phenomenal movies like Se7en, Fight Club, Zodiac, and more. Now, it’s time for The Social Network, which premise can be summed up in “the story behind the creation of Facebook”. Ten years have passed since its release, and the real Mark Zuckerberg already stated that most of the film is based on fictional events and conversations. Truth is, this movie was never marketed as a true story, but yes as an adaptation of Ben Mezrich’s 2009 book The Accidental Billionaires. It’s a film like any other, not a detailed account of whatever happened in real life.
With that said, this is easily one of the best adapted screenplays of all-time. Aaron Sorkin, the man behind one of the best movies of 2020 (The Trial of the Chicago 7), demonstrates his incredibly talented writing skills in The Social Network, proving that he’s one of the most meticulous writers working today. If you’ve been reading my previous reviews, there’s a couple of compliments I keep giving to Fincher, which are his extreme attention to detail and his impressive dedication to the narrative he wants to tell. So, what happens when you put together two of the most perfectionist filmmakers ever? An award-worthy, “best of the year” contender arises from their gifted minds.
There’s not even much to discuss besides the narrative itself since this is, by far, the aspect that elevates the whole film. Jeff Cronenweth, who previously worked in Fight Club, brings out Fincher’s trademark realistic look and feel through his simple yet powerful cinematography. Trent Reznor and Atticus Ross’ original score is packed with little effects that resemble computer sounds, making it quite addictive while also increasing the movie’s energy in the most exciting sequences. Finally, just like in Zodiac, the editing work (Angus Wall, Kirk Baxter) is absolutely seamless, and it’s definitely the technical component that better helps Sorkin’s screenplay shine due to the latter’s structure.
Throughout the entire runtime, the story is told through a nonlinear timeline, mixing up Facebook’s actual creation (ideas, planning, programming) with the future legal issues that Mark Zuckerberg faces. This structure allows for an exceptionally captivating and tremendously entertaining couple of hours by never letting the pacing slow down or to have an uneventful sequence. The protagonist is accused of stealing the concept from the Winklevoss twins (both interpreted by Armie Hammer), gets in trouble with his best friend, Eduardo Saverin (Andrew Garfield), over the website’s monetization, and Sean Parker (Justin Timberlake) is partially the trigger for a lot of the chaos that ends up overwhelming Zuckerberg’s life.
Sorkin and Fincher’s greatest accomplishment is their success in making the viewer feel invested in a main character who’s an utter “asshole”, an adjective with a lot of weight in the film. Jesse Eisenberg is remarkable as one of those characters people “love to hate” (no wonder the real Zuckerberg didn’t enjoy the movie since he’s depicted as a contemptible friend). Eisenberg has a unique manner of speaking and distinctive mannerisms that are perfect for this character. Garfield and Timberlake are also formidable, incorporating their characters effortlessly. Once again, comparing with Zodiac, The Social Network is also a dialogue-driven narrative, but the latter resonated with me a bit more due to my area of work.
The only issue I have involves the Winklevoss family. Armie Hammer is excellent as both twins, as is Max Minghella as Divya Narendra, but their subplot occasionally drifts from the main story, losing my interest for those short moments. There’s even a rowboat race that feels out-of-place and unnecessary, but I admit that it’s gorgeously shot and accompanied by a fantastic soundtrack. Despite this little misstep, Fincher continues to impress me with his outstanding directing techniques, forcing the actors to prove their worth by making them go through their dialogues faster and implementing long takes every time that’s possible.
All in all, The Social Network is yet another masterful piece of cinema, this time delivered by not one but two magnificent filmmakers. David Fincher and Aaron Sorkin employ their mutual perfectionism and meticulousness to create an extraordinarily engaging narrative. Boasting a nonlinear but tremendously effective structure, the two pillars of any film – story and characters – are wonderfully built, even reaching the point of making the viewer feel invested in a despicable yet fascinating protagonist. Jesse Eisenberg shines in a career-defining performance, but Andrew Garfield and Justin Timberlake also rise to the necessary level of dedication, dealing with the rapid-fire dialogues and outstanding long takes seamlessly. Technically, great camera work offers a realistic feel, an addictive score increases the excitement levels, and flawless editing makes the different timelines shift seamlessly. Despite an occasionally unnecessary, irrelevant detour concerning a minor subplot, this is another brilliant addition to Fincher’s filmography.
I saw this film at a free screening in Denver last night. From the opening sequence, you know you’re in Aaron Sorkin territory. His rapid-fire dialogue and the “that was then, this is now” editing is a little disorienting at first, but you get used to it. When Mark Zuckerberg breaks up with his girlfriend, you have a pretty good idea of everything going on in his mind. And yet, the film portrays him in a sympathetic light. Everyone was laughing at the hilarious put downs and one-liners. The best one, at least in my opinion, is a reference to the original “Karate Kid.” All the actors are OK, but this is Jesse Eisenberg’s movie. He convinces you of all the insecurities and doubts percolating in his character. While his reasoning is usually explained with a gesture or a snide remark, his confrontation with the Winklevoss twins’ lawyer lays out his true motives for being the way he is. Rashida Jones’ character although minor is pivotal since she explains to Zuckerberg where he went wrong. There are some brief digressions like Saverin’s girlfriend problems which contribute to the 116-minute running time(sans credits.) It’s a little too long, and David Fincher seems confident enough in the material not to indulge in any of his usual tricks. I’d say the film is a mix of “Juno” with “Greenberg” without the self-conscious dialogue of the first, or the nastiness of the second.
Original Language en
Runtime 2 hr (120 min)
Genre Biography, Drama
Director David Fincher
Writer Aaron Sorkin, Ben Mezrich
Actors Jesse Eisenberg, Andrew Garfield, Justin Timberlake
Country United States
Awards Won 3 Oscars. 172 wins & 186 nominations total
Production Company N/A
Sound Mix Dolby Digital, DTS, SDDS, Dolby Surround 7.1, Dolby Atmos
Aspect Ratio 2.39 : 1
Camera Red One MX, Zeiss Master Prime and Angenieux Optimo Lenses
Laboratory DeLuxe, Hollywood (CA), USA (prints), LightIRON Digital, Los Angeles (CA), USA (digital intermediate)
Film Length 3,184 m (Portugal, 35 mm)
Negative Format Redcode RAW
Cinematographic Process Digital Intermediate (2K) (master format), Dolby Vision, Redcode RAW (4.5K) (source format)
Printed Film Format 35 mm (anamorphic) (Fuji Eterna-CP 3513DI), D-Cinema