Hating a film can be just as engaging, if not more so, as loving it. A movie that is blatantly nonsensical, poorly executed, or morally objectionable can spark as much contemplation and debate as one that is genuinely impactful. In both scenarios, there is at least some element that evokes a reaction.
Enter “The Social Reckoning,” Aaron Sorkin’s follow-up to the acclaimed “The Social Network” from 2010. This sequel, helmed by Sorkin himself, falls into the category of unfortunate anti-art creations. It attempts to position itself as perpetually relevant but ends up being so vacuous and derivative that it fails to elicit genuine disdain, let alone provoke productive criticism.
The film aims to delve into the realm of social media’s perils and corporate-driven conformity, yet it ironically becomes a manifestation of the very issue Sorkin seeks to expose: an influx of subpar and uninteresting content saturating our digital platforms. Despite the promising subject matter, the execution falls short, despite the involvement of talented individuals in the cast and crew.
Set against the backdrop of Facebook’s exponential growth, “The Social Reckoning” promises a scathing critique of one of the tech industry’s power players. However, it struggles to deliver on its potential. The narrative follows Wall Street Journal reporter Jeff Horwitz (played by Jeremy Allen White) and disillusioned Facebook employee Frances Haugen (portrayed by Mikey Madison) as they uncover a clandestine operation known as MSI (Meaningful Social Interactions) that has far-reaching negative consequences.
The portrayal of Mark Zuckerberg, played by Jeremy Strong, lacks the depth and intrigue of previous interpretations. Rather than a compelling character study, the film reduces Zuckerberg to a peripheral figure, overshadowed by other plot elements. Strong’s performance is commendable, but the narrative fails to provide substantial material for his character to explore.
Blame for the film’s shortcomings falls squarely on Sorkin’s shoulders. Known for his distinctive dialogue and storytelling style, Sorkin’s attempt at addressing relevant issues falls flat. “The Social Reckoning” comes across as a missed opportunity, lacking the substance and impact expected from a Sorkin project.
Overall, “The Social Reckoning” is a lackluster and unremarkable film that fails to engage or provoke meaningful reactions. It falls short of its predecessor, “The Social Network,” and disappoints with its lack of depth and courage. In the realm of art, such mediocrity and timidity are perhaps the most egregious offenses a piece can commit.