The tale of a new breed of cultural insurgent: a punk genius who sparked a revolution and changed the face of human interaction for a generation, and perhaps forever.
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Credits: TheMovieDb.

Film Cast:

• Mark Zuckerberg: Jesse Eisenberg
• Eduardo Saverin: Andrew Garfield
• Sean Parker: Justin Timberlake
• Cameron Winklevoss / Tyler Winklevoss: Armie Hammer
• Divya Narendra: Max Minghella
• Erica Albright: Rooney Mara
• Christy Lee: Brenda Song
• Marylin Delpy: Rashida Jones
• Sy: John Getz
• Gage: David Selby
• Gretchen: Denise Grayson
• Tyler Winklevoss: Josh Pence
• Larry Summers: Douglas Urbanski
• Dustin Moskovitz: Joseph Mazzello
• Peter Thiel: Wallace Langham
• Chris Hughes: Patrick Mapel
• Amelia Ritter: Dakota Johnson
• Alice Cantwel: Melise
• Billy Olsen: Bryan Barter
• Mr. Cox: Barry Livingston
• KC: Shelby Young
• Vikram: Abhi Sinha
• Tori: Mariah Bonner
• Bob: Mark Saul
• Reggie: Cedric Sanders
• Anne: Inger Tudor
• Sharon: Emma Fitzpatrick
• Howard Winklevoss: John Hayden
• Prince Albert: James Shanklin
• Mr. Kenwright: Oliver Muirhead
• Maurice: Scott Lawrence
• Ashleigh: Caitlin Gerard
• Mackey: Jared Hillman
• Gretchen’s Associate: Adina Porter
• Beautiful Woman: Felisha Terrell
• Stoned Girl: Amy Ferguson
• Facebook Lawyer: Peter Holden
• B.U. Guy in Bra: Trevor Wright
• Phoenix Club President: Dustin Fitzsimons
• Phoenix Club Pledge: Chris Gouchoe
• Phoenix Member Playing Facemash: Toby Meuli
• Student Playing Facemash: James Dastoli
• Student Playing Facemash: Robert Dastoli
• Student Playing Facemash: Scotty Crowe
• Erica’s Roommate: Marcella Lentz-Pope
• Student in Communications Office: Randy Evans
• Court Reporter: Carrie Armstrong
• Ad Board Chairwoman: Pamela Roylance
• CS Lab Professor: Brian Palermo
• Phoenix Club Hazer: Brett Leigh
• KC’s Friend: Cali Fredrichs
• Larry Summers’ Secretary: Nancy Linari
• Ad Executive: Aaron Sorkin
• Intern Eric: Kyle Fain
• Intern Ian: Christopher Khai
• Prince Albert’s Aide: Alex Reznik
• Bank Teller: Monique Edwards
• Peter Thiel’s Assistant: Cayman Grant
• Facebook Lawyer: Darin Cooper
• Sorority Girl: Lacey Beeman
• Sorority Girl: Cherilyn Wilson
• Bobby’s Friend: Jeff Martineau
• Fraternity Guy: Caleb Landry Jones
• Policeman: Franco Vega
• Policeman: Andrew Thacher
• Model: Inbal Amirav
• Student (uncredited): Noah Baron
• Student (uncredited): Jesse Heiman
• Student Playing Facemash (uncredited): David Broyles
• Bob (uncredited): Mike Bash
• Harvard Student (uncredited): Tony Calle
• Harvard Student (uncredited): Elliott Ehlers
• Harvard Student (uncredited): Brett A. Newton
• Harvard Student (uncredited): Nathan Dean Snyder
• Harvard Student (uncredited): Patrick Michael Strange
• Party Girl (uncredited): Kristen Clement
• Party Girl (uncredited): Tatum Miranda
• B.U. Guy in Bra #2 (uncredited): Chad Davis
• Mr. Edwards (uncredited): Calvin Dean
• Waiter (uncredited): Tony DeSean
• Waiter (uncredited): Vincent Rivera
• Regatta Spectator (uncredited): Jason Flemyng
• MIT Student (uncredited): Carlos Foglia
• Popular Harvard Student (uncredited): Bryan Forrest
• Sorority Girl (uncredited): Jessica Franz
• Dancer (uncredited): Eli Jane
• Dancer (uncredited): Sara Murphy
• Go-Go Dancer (uncredited): Kandis Mak
• Harvard Note-Passer (uncredited): Eric La Barr
• Final Club Girl (uncredited): Naina Michaud
• Final Club Girl (uncredited): Riley Voelkel
• Romantic Girlfriend (uncredited): Miriam Pultro
• Club Waitress (uncredited): Tia Robinson
• Dorm Room Guy #2 (uncredited): Jeff Rosick
• Ruby Skye Waitress (uncredited): Alexandra Ruddy
• Club 66 Girl (uncredited): Adrienne Rusk
• Art History Professor (uncredited): Rebecca Tilney
• Club-Goer (uncredited): Georgina Tolentino
• Pheonix Club Hazee (uncredited): Cooper Conley-Currier

Film Crew:

• Executive Producer: Kevin Spacey
• Producer: Scott Rudin
• Original Music Composer: Trent Reznor
• Producer: Michael De Luca
• Set Decoration: Victor J. Zolfo
• Director: David Fincher
• Producer: Ceán Chaffin
• Director of Photography: Jeff Cronenweth
• Casting: Laray Mayfield
• Sound Re-Recording Mixer: Ren Klyce
• Screenplay: Aaron Sorkin
• Editor: Angus Wall
• Art Direction: Keith P. Cunningham
• Production Design: Donald Graham Burt
• Camera Supervisor: Tom Abrams
• Leadman: Freddy Waff
• Producer: Dana Brunetti
• Novel: Ben Mezrich
• Unit Production Manager: JoAnn Perritano
• Makeup Artist: Ann Pala
• Sound Recordist: Ronald G. Roumas
• Location Manager: Richard Schuler
• Original Music Composer: Atticus Ross
• ADR & Dubbing: Mark Sussman
• Art Department Coordinator: Cindy M. Ichikawa
• Costume Design: Jacqueline West
• Editor: Kirk Baxter
• Art Direction: Curt Beech
• Foley: John Roesch
• Stunt Coordinator: Mickey Giacomazzi
• Still Photographer: Merrick Morton
• Location Manager: William Doyle
• Set Designer: Aaron Haye
• Production Design: David E. Scott
• Stand In: Ken Edling
• Scoring Mixer: Michael Patterson
• Special Effects Coordinator: Steve Cremin
• Makeup Department Head: Felicity Bowring
• Construction Coordinator: Chris Snyder
• Dialect Coach: Elizabeth Himelstein
• Visual Effects Producer: Brice Liesveld
• Set Designer: Randall D. Wilkins
• Sound Re-Recording Mixer: Michael Semanick
• Visual Effects Coordinator: Max Leonard
• ADR & Dubbing: Richard Quinn
• Visual Effects Producer: Thomas Nittmann
• Visual Effects Supervisor: Edson Williams
• Script Supervisor: Sharron Reynolds-Enriquez
• Set Designer: Theodore Sharps
• Foley: Alyson Dee Moore
• Sound Effects Editor: David C. Hughes
• Camera Operator: Peter Rosenfeld
• Property Master: Trish Gallaher Glenn
• Visual Effects Producer: Andrea D’Amico
• Key Hair Stylist: Kelly Muldoon
• Sound Re-Recording Mixer: David Parker
• Hair Department Head: Linda D. Flowers
• Set Designer: Jane Wuu
• Greensman: David Corral
• Hairstylist: Yesim ‘Shimmy’ Osman
• Location Manager: Jonah Coombes
• Production Supervisor: Marc A. Hammer
• Dialogue Editor: Malcolm Fife
• Sound Effects Editor: E. Larry Oatfield
• Music Editor: Marie Ebbing
• Music Editor: Jonathon Stevens
• Location Manager: Charley Armstrong
• Location Manager: Ben Gladstone
• Script Supervisor: Lisa Arnone
• Gaffer: Harold Skinner
• Lighting Technician: Chris Weigand
• Foley: Thom Brennan
• Assistant Editor: Alex Olivares
• Grip: Wally Webber
• Hairstylist: Clare M. Corsick
• Makeup Artist: Alex Proctor
• Post Production Supervisor: Carey Len Smith
• Assistant Director: Allen Kupetsky
• Standby Painter: Chris Samp
• Propmaker: Steve Burnes
• Painter: Francesco Ferrara
• Set Dressing Artist: Wayne Kimball
• Propmaker: James R. Lord
• Carpenter: Gregory Lynch Jr.
• Carpenter: Ted Nolan
• Propmaker: Cesar Orozco
• Boom Operator: David Raymond
• Sound: David C. Manahan
• Sound Mixer: Tom Williams
• Special Effects: Robert Cole
• Digital Compositors: Enid Dalkoff
• Visual Effects Supervisor: Fred Pienkos
• Digital Compositors: Maciek Sokalski
• Stunts: Dan Brown
• Grip: Adam Camacho
• Grip: John Flemming
• Grip: Miles Gutkin
• Grip: William T. Iversen
• Grip: Shaun Sangkarat
• Rigging Grip: Andrea Krout
• Rigging Grip: Richard Jones
• ADR & Dubbing: Patty Connolly
• Craft Service: Elena Moscatt
• Craft Service: Patrick Mahoney
• VFX Artist: Dave Levine
• VFX Artist: Jeremiah Sweeney
• Sound Mixer: Mark Weingarten
• Assistant Editor: Tyler Nelson
• Post Production Coordinator: Adam Cole
• Second Unit Director: Noble Jones

Movie Reviews:

• Andres Gomez: Eisenberg was probably born for this role.

  The story is well threaded and you don’t get bored until the end. A decent movie.

• MSB: If you enjoy reading my Spoiler-Free reviews, please follow my blog @
  https://www.msbreviews.com

  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.

  Rating: A