Review: The Social Reckoning

Score: B+

Director: Aaron Sorkin

Cast: Mikey Madison, Jeremy Allen White, Jeremy Strong, Billy Magnussen

Running Time: 112 Minutes

Rated: R

It's pretty widely accepted that The Social Network was robbed of the Oscar for Best Picture. Ever since it lost to The King's Speech, its reputation has only increased. It's rightly viewed as a prescient, cutting piece of recent history about arguably the single most important figure of the 21st Century thus far. It was the perfect blend of David Fincher's harsh view of humanity, and Aaron Sorkin's verbose writing. Oh, and it's also got one of the best film scores of all time. So a sequel – regardless of how much material and relevance there is – would have a lot to live up to.

So does The Social Reckoning, which brings back only Sorkin and DP Jeff Cronenweth, live up to its predecessor? Absolutely not! But taken on its own terms, it's an entertaining and occasionally powerful film with a trio of great performances.

Taking its inspiration from The Wall Street Journal's Pulitzer Prize-winning "The Facebook Files", the film is far less interested in Mark Zuckerberg, this time played by Jeremy Strong. Sorkin instead frames this sequel in a way that lets him rely on his strengths.

Mikey Madison, in her first role since winning the Oscar for Anora, plays whistleblower Frances Hageun. She's a true believer in Facebook's mission to connect people. But her concerns over its algorithm's ability to radicalize users falls on deaf ears, so she turns to reporter Jeff Horwitz (Jeremy Allen White). This means the bulk of the film is about "getting the story," the backbone of many episodes of Sports Night and The Newsroom. If you were a fan of the latter especially, this movie will be catnip for you. (By the same token, if that show caused you to cringe, you'll probably find this movie insufferable.)

As a writer, Sorkin is as sharp as ever. But sometimes he can't help himself. He's still shoehorning in references to old musicals and undercutting his Strong Female Leads with a man who's just a little bit smarter. As a filmmaker, he hasn't exactly improved in his fourth feature. He simply doesn't know how to do crowd shots. But he excels at making rooms feel claustrophobic. And he does get terrific performances out of the rest of his cast too, including Patrick Fischler, Bill Burr, and Wunmi Mosaku.

Once you accept that The Social Reckoning isn't in the same league as The Social Network, you'll be treated to an intense drama about the even darker side of social media. But that's only if you're still a fan of Aaron Sorkin. If his style and annoying tendencies rub you the wrong way, you might be better off scrolling.

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About Kip Mooney

Like many film critics born during and after the 1980s, my hero is Roger Ebert. The man was already the best critic in the nation when he won the Pulitzer in 1975, but his indomitable spirit during and after his recent battle with cancer keeps me coming back to read not only his reviews but his insightful commentary on the everyday. But enough about a guy you know a lot about. I knew I was going to be a film critic—some would say a snob—in middle school, when I had to voraciously defend my position that The Royal Tenenbaums was only a million times better than Adam Sandler’s remake of Mr. Deeds. From then on, I would seek out Wes Anderson’s films and avoid Sandler’s like the plague. Still, I like to think of myself as a populist, and I’ll be just as likely to see the next superhero movie as the next Sundance sensation. The thing I most deplore in a movie is laziness. I’d much rather see movies with big ambitions try and fail than movies with no ambitions succeed at simply existing. I’m also a big advocate of fun-bad movies like The Room and most of Nicolas Cage’s work. In the past, I’ve written for The Dallas Morning News and the North Texas Daily, which I edited for a semester. I also contributed to Dallas-based Pegasus News, which in the circle of life, is now part of The Dallas Morning News, where I got my big break in 2007. Eventually, I’d love to write and talk about film full-time, but until that’s a viable career option, I work as an auditor for Wells Fargo. I hope to one day meet my hero, go to the Toronto International Film Festival, and compete on Jeopardy. Until then, I’m excited to share my love of film with you.