#315 - The Social Reckoning

um yeah I don't know I think it was okay um I definitely do understand like like where the kind of harshish criticism is coming from because like a lot of this film does feel like a weird and kind of like stilted um um but it was like i was engaged throughout i can't like knock it too much i thought some of it was funny some of it was not necessarily insightful but it was i don't know like on the pulse a little bit i guess um and i don't know the acting was good um yeah it was good there's enough good stuff here but like as a as a sequel to the social network it doesn't um definitely doesn't hold a candle to that but it was all right

I think I agree but I think I'm gonna land a bit higher on it um I do think the film was really engaging The issue is that I don't know how much of that is...

I think a lot of that is by nature of the story it's telling rather than as a result of Sorkin's writing or his directing or, you know, camera or whatever else.

I think it's an important story to tell and I think that's going to get it a few points even when it may not fully deserve it, you know, in terms of objectivity or whatever.

You know, I think it's just...

It's a story they need to get out there, and I think that's going to get it some bonuses.

Yeah, I agree on the acting.

I really liked it.

I saw a lot of people slandering a lot of the cast, but I kind of disagree with all of that.

I think Mark, not Mark, I think Jeremy Strong might have gone a bit too deep on it.

But I liked a lot of the others.

I really liked Bill Burr, to be honest, which surprised me.

I wasn't expecting him to be one of my standouts.

But then Mikey and Jeremy were very good too.

I think you're right when comparing it to social network is hard to really you know, give it too much credit.

Um, because you know, you have, you have that as a direct comparison really.

Um, so a lot of the choices in this one just kind of, you know, if they don't play out to be poor, they're kind of just a bit bizarre.

Um, know the camera never really takes its time it's always moving and it's always kind of it creates a sense of urgency i guess but i don't know i think in the first one which is the same cinematography i'm surprised that there is this change but in the first one it kind of knows when to hold and you know in in its moments and you know it kind of feels like this update is a bit to just keep the audience engaged in in our in our six second fried brains um Color-wise, it feels like it was trying to emulate.

I think that's what it kind of...

It felt like it was trying to emulate the social network rather than actually being the social network.

Because the color seems mostly right, but it's not... you know

there was there was a one the one shot at facebook of like mikey um francis and her like boss who was like a guy and they were in the hallway um and that looked like a david fincher shot like the lighting was very like i mean it was just it was just dark and it had like really good contrast um and like i think that and like when francis and what's the reporter's name um

Horowitz uh and Jeff Jeff Jeff

when Francis and Jeff are like outside meeting like that those shots look good and kind of like they look Fincher-esque to me even though it's kind of like a bright background but I feel like it was it definitely it gave more Finch than I ever got from like, I don't know, you know, trial of the Chicago seven or like what I've seen from like Molly's game.

You know, I didn't, this isn't something, this style isn't something I necessarily associate with Aaron Sorkin.