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The ambitions that Mark Zuckerberg had for Facebook — at least what we see of them in The Social Network — seem so small and sad and deeply ungrand next to the reality of how life on Facebook plays out a mere few years later in the profoundly poignant Catfish.
No, wait: lemme guess what we’re meant to take from this turgid drama of small lives and smaller ambitions. ‘Some people do bad things and go to prison, and some people do bad things and live their lives out in the wide world as if they’re in prison anyway’? ‘Crazy, quietly desperate men are sad and sympathetic, and crazy, aggressively desperate women are slutty objects of derision’?
I’ve come to realize recently that there’s something more chilling, more eerie than a fictional dystopian world: a fictional dystopian world in which no one understands they’re living in a dystopia.
How did anyone dare to do this? How did anyone think they would get away with it? Most audacious of all, perhaps: Did anyone have any notion that such a recklessly bold premise for a film would possibly succeed this well?
Looks like you may have missed your chance to see Hatchet II on a big screen, because the film has been pulled from theaters. Not that it matters, really, because this is such a spurious waste of time that no one should have to bother with it at all.
How sad is it when a horror movie appears to be aiming for overwrought and still ends up underbaked? This overly familiar, wholly unoriginal would-be psychological thriller provokes few reactions outside of boredom and — in, sadly, too few moments — derisive laughter.
It is a strange and curious thing that director Matt Reeves chose to follow up his uniquely distinctive Cloverfield with a film that is, if not precisely a shot for shot remake of the Swedish-language Let the Right One In, then at least a tonal copy.
The Social Network isn’t overly concerned with the obvious irony: ha ha, an antisocial nerd invented the most popular social-networking Web site on the planet. As Fincher frames it, Zuckerberg’s loneliness is hardly ironic. It is, in fact, inherent in the mindset that got him to where he is…
There’s an appealing sort of crazy, on the surface, to Freakonomics — the theory, the book, and now the documentary. But it seems for all the world as if Freakonomics the movie is mocking Freakonomics the theory. Did they mean to do that?
I come to you with all honest sincerity and humility to say that I cannot, for the life of me, tell you what the hell this damn movie is about.
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