billybobwashere

What I think is going to make The Social Network such a sensation is that it can be experienced in a number of different ways. On one hand, it's an extremely intriguing look at a fascinating 21st century event that people don't really know much about, moving at a pace that matches the wits of the film's brilliant protagonists. On another level, it's a movie that absolutely sums up the way the world has changed during the Digital Age; you don't have to be likable, persuasive, or forceful (like the Winklevoss twins who Zuckerberg duped) to succeed in an era where nerdy little college students can become billionaires from their computers.

If you aren't particularly interested in the founding of Facebook or the film's representation of the Digital Age, you can still view it in a totally different context. It's a movie about youth in the 21st century, people who think they're "connected" via Facebook and texting but really live in a state of disconnect. The film deals with a wide variety of main characters - most of whom are college-aged - and each of these characters is in some way "deformed" Zuckerberg cannot relate to others, Parker is morally corrupt, Eduardo cannot properly run his business, Eduardo's girlfriend is literally insane, and the Winklevi are almost inhumanly strong creatures yet somehow can't handle the scrawny kid who stole their idea. Viewed as nothing more than a study on America's current generation (which isn't nearly the focus of the film), The Social Network is already an incredible accomplishment.

And while each of these pieces plays a significant role in shaping this film into something great, what makes it for me an extraordinary film - a masterpiece, even - is a radically different aspect of the movie. Through the pen of Aaron Sorkin, the eye of David Fincher, and the performance of Jesse Eisenberg, the character of Mark Zuckerberg stands as one of the most tragic figures of loneliness in the history of film. Every single frame of the movie complements this notion. In the opening scene, Mark sits at a distance from his date, with her final words being "It's because you're an as.shole" before storming off. Mark runs home alone and essentially crafts Facebook out of his anger and seclusion; while other Harvard geniuses party, he works at his laptop. As the film progresses, the camera almost always catches him standing alone, sitting alone, away and apart from other people (often people with whom he is interacting). He can't even feel close to his friends. His hands are often contained within his sweater pockets, burying him within himself. Sorkin's harsh words and the blistering pace at which Eisenberg recites them frame him into somebody by whom we are fascinated but to whom we could never truly relate. Despite all that money and success, he isn't somebody we wish we were.

This portrait of desolation and heartache (which is often powerful enough to move one to tears), paired with an entertaining depiction of Facebook's creation (which is often hilarious enough to move one to tears), as well as an incredible ensemble cast, gorgeous cinematography, pitch-perfect musical work by Trent Reznor, impeccable editing, and a poignant ending that brings the themes of the story full circle, The Social Network is a film that makes conversations cool again (something that hasn't been true since Pulp Fiction ), a film that defines our generation and times in a way that a film hasn't done since possibly The Graduate, a film that can be enjoyed by virtually anybody above the age of 13, a film that I know I will watch a few more times in theaters, and an experience I (and soon to be you) won't forget for quite some time. In fact, it will probably resonate with us longer than will Facebook itself.

It's hard to be an ensemble drama in a time when the other films in this sub-genre have a very sturdy track record, with "Crash" being a Best Picture winner, "Babel" and "Traffic" being Best Picture nominees, and "Magnolia" being a cult favorite, among many other popular multi-storied films. Yes, these ensemble pieces all are quite distinctive from one another, but it's very hard to not compare them to each other, as their common goal is the same: to tell many stories and convey one focused message.

In my opinion, films like "Crash" and "Babel" are hurt by the fact that they are forced to cheat the viewers in order to come to the film's end message, whereas a film like "Magnolia" or "Traffic" arrives at it through brilliant film-making and storytelling.

Luckily, this adaptation ensemble piece manages to land itself far closer to the likes of "Magnolia" or "Traffic" than "Crash" or "Babel." While I consider that a very good thing, some may not. Some may want a film that focuses on leaving a strong emotional impact more than telling its many stories as well as possible, and they may in fact be disappointed by "Winged Creatures." But if you appreciate low-key films that are effective without hitting you over the head in any way, this film is definitely a must-see.

One of the first things praise-worthy in this ensemble film is, of course, its terrific ensemble cast. Many of these actors provide performances that prove they have more potential than I had previously thought. The film is about numerous characters who witness a murder, and the PTSD that follows them around afterward, and most of the actors have to portray a different PTSD side-effect with his or her performance, and all of them do it very well.

I never believed that Kate Beckinsale had anything to her name besides hot looks, but she plays a stressed-out mother very convincingly. After his ridiculous over-performance in "Vantage Point," I thought that Forrest Whitaker's fabulous performance in "The Last King of Scotland" may have just been a fluke. But his portrayal of a man whose luck is all over the place after the event is spot-on. As Dakota Fanning moves towards adulthood, she handles a particularly tricky (and religion-heavy) performance with ease. Heck, even Jennifer Hudson (how the hell did she win an Oscar?) gives a performance that indicates some talent, even though her role is small.

Then you get to the direction, and all that goes with it. The film moves between its stories just as well as the higher-budget, more mainstream ensemble pieces, transitioning very well without ever killing the mood with a sudden shift. The film's score adds to this , as it keeps the same feel throughout the movie, giving the film an unchanging pace and mood, so even though you're watching a bunch of stories at once, it's one wholesome experience.

I don't know if this will get recognition come Oscar time, but frankly, it doesn't need to. This is a movie that shows talent out of a lot of actors about whom you may have been skeptical, and is a very worthy addition to the ensemble piece genre.