"The Social Network" (2010). Lo nuevo de Fincher.

Bueno, ya hay un post para la banda sonora de Reznor:

http://zona-zero.net/postp1167115-e7949 ... ml#1167115

Pero supongo que la peli se merece uno propio, ya que me da la impresión de que va a estar muy presente en los próximos oscars y demás galas de premios, al menos por todos los elogios que se está llevando de la gente que ya la ha visto y que dice que es una de las pelis del año. Aparte de que es una peli de Fincher, uno de los directores más reconocidos que hay hoy en día gracias a trabajos como "Seven", "Fight Club" o "Zodiac".






http://www.thesocialnetwork-movie.com/


Tráiler:

http://www.youtube.com/watch?v=lB95KLmpLR4

En los comentarios del tráiler en Youtube:

Saw it yesterday. Advanced screening.

It was great.

Honest, realistic, good music, excellent cinematography, sharp dialogue, and directed by the guy who directed Fight Club.

Shows that even the richest people on Earth have insecurities.

Algunas críticas ya han salido poniéndola bastante bien:

http://www.slashfilm.com/2010/09/15/the ... ie-review/

The Social Network is a marvel of meticulous construction. At no point during the film’s 2+ hour runtime did I feel as though it was anything less than a masterwork of two creative artists - director David Fincher and screenwriter Aaron Sorkin - at the top of their respective games. There has been a lot of discussion about how the film captures the cultural zeitgeist and how it simultaneously taps in to the excitement, the promise, the greed, and the petty angst of millenials. But more than any of that, The Social Network is a gripping story about what happens when friends decide to succumb to their inner demons, and how those decisions come to haunt them forever.

The film begins in 2003 in Cambridge, MA. After a scathing conversation with his then-girlfriend (Rooney Mara), Harvard student Mark Zuckerberg (Jesse Eisenberg) retreats to his dorm room, chastened, drunk, and angry. With the help of friend Eduardo Saverin (Andrew Garfield), Zuckerberg hacks into Harvard’s servers to create Facemash, a website that pulls up profile pictures of two random women and allows people to rank them. When the site goes viral and causes Harvard’s network to melt down, Zuckerberg catches the attention of Cameron and Tyler Winklevoss (played by Arnie Hammer and Josh Pence, although only Hammer performs the facial acting of both), two Harvard rowers who are looking to start a Harvard-based social network. The two ask Zuckerberg to work for them and Zuckerberg agrees. But after months of blowing them off, Zuckerberg steals their idea (or does he?) and launches his own social network, “The Facebook.” And the rest, as they say….

There’s a lot of ugliness and darkness in The Social Network. As these young entrepreneurs duke it out in court, I was struck with the inescapable the fact that a lot of the film is comprised of rich people fighting even richer people, all of them trying to extract the highest possible value from each other.

Sorkin is accustomed to writing flawed but noble heroes, but it’s in The Social Network that he encounters one of his few anti-heroes. I’ve never met Mark Zuckerberg, but his portrayal in the film is vivid and fully realized; this person might not exist in the real world but he easily could. It’s also a profoundly unflattering portrayal to say the least. Deep down, Eisenberg’s Zuckerberg longs for the approval of his friends and peers. He craves popularity, yet lacks the decency and emotional intellect to gain it. He is a haughty, insecure, vindictive douchebag, who is nonetheless a genius that will go on to become the world’s youngest billionaire. But Eisenberg doesn’t always spell out what’s going through Zuckerberg’s head. He challenges you with his enigmatic stare, his disdainful sneer, and his occasionally deadpan delivery. It’s a memorable performance, and one that raised my respect for the young actor considerably.

Many of the film’s other performances are equally deserving of praise. Justin Timberlake is strangely watchable as Napster-founder Sean Parker, a brilliant entrepreneur and a conniving instigator. I also found the Winklevoss twins to be totally convincing. At no point did it ever occur to me that Hammer’s head was being digitally grated onto the other Winklevoss, clearly evidence that Fincher’s use of digital trickery continues to be refined and perfected.

The film’s biggest asset, though, is Andrew Garfield, playing Eduardo Saverin, Zuckerberg’s only friend in college. While Garfield occasionally looks and sounds like a young Hayden Christensen, he quickly proves that he can easily surpass anything that Christensen has ever done, and probably ever will do. The bond between Saverin and Zuckerberg, between the selfless and the selfish, is one that we’ve seen many times, both on film and in our lives. Zuckerberg knows nothing but the pursuit of greatness and repeatedly falls prey to the irresistible lure of self-aggrandizement. Saverin, on the other hand, has deeper, nobler values, and Garfield sells the character with everything he has, evoking a striking innocence that should suit him well as the new Peter Parker. As Zuckerberg continues to take advantage of Saverin’s good graces, we hope for a positive outcome, while knowing that this story probably won’t end well for these two. It’s a tragic tale of how friendship unravels, a story whose gravity trounces the levity that the film’s title and subject matter might imply.

In feel, The Social Network is most similar to Fight Club, only here, elite parties and nerd-populated dorm rooms replace make-shift underground wrestling arenas. Fincher colors much of the film with his characteristic brownish/greenish hues, while swooping, deliberate establishing shots reveal insane amounts of detail in every frame. Working with cinematographer and longtime collaborator Jeff Cronenweth, Fincher adeptly captures the allure of the elite, the out-of-reach, the unknown. His mastery of atmosphere not only allows him to capture a sense of place, but also of mood. We feel Zuckerberg’s satisfaction at beating the Winkelvosses and his excitement at being on the cusp of a social networking revolution. Trent Reznor and Atticus Ross’s foreboding yet propulsive score tinges the film with a feeling of inevitability.

The Social Network is based off of the novel Accidental Billionaires by Ben Mezrich, the veracity of which has already been disputed from numerous sources (not the least of which is Zuckerberg himself). Like all movies based on real-life occurrences, a certain degree of fabrication is necessary. But for all the film embellishes, what’s remarkable is how many of the essential facts of the Facebook lawsuits that Sorkin is able to convey in a compelling fashion. The movie boomerangs back and forth in time and location, offering us glimpses of the various legal proceedings and allowing the main characters to describe what transpired in their own words under the guise of deposition proceedings. It’s an intricate web to spin, but in Sorkin’s hands, it just works.

Sorkin’s indelible style can also be felt throughout. Those of you who missed the rapid-fire patter of Sorkin’s earlier days have nothing to worry about as it’s back in full form. As usual, Sorkin is able to wring a great deal of humor from the proceedings, recognizing the idiosyncrasies and absurdities, both of the justice system and of the process of launching a tech startup.

When I was growing up, a wise person once told me that all people want is to be loved. If they can’t have love, they’ll take respect. And if they can’t have respect, they’ll settle for fear. These are the trade-offs that we watch Mark Zuckerberg make throughout the film. At the end of The Social Network, I wanted to hate Zuckerberg’s guts for his staggering success, which came about despite all the emotional damage he had perpetrated against those around him. But I also wanted to just give the guy a hug. That balance between humanity and inhumanity is perhaps the film’s greatest triumph.

/Film Rating: 9.5 out of 10

Otra reseña que le da 5 estrellas de 5:

http://cinemablend.com/reviews/The-Soci ... -4832.html

Some people are born with good looks or with the natural hand-eye coordination necessary to hit a fast ball. Others come from money or are naturally charismatic; they draw people to them in a way that just can’t be learned. Then there’s the rest of us. We’re nothing special. We’ll never be those people. We look at them and say it’s ok, but can’t even convince ourselves. Whether we choose to admit it or not, we want to be them or at least gain their approval. We want those people to see us as their equals.

Known to many as “The Facebook Movie,” David Fincher’s The Social Network is not about the creation of one of the internet’s most successful websites. It’s not about becoming the world’s youngest billionaire. It’s not about greed and it’s not about power. The Social Network is a film about the inescapable need for acceptance inside each one of us.

It’s the fall of 2003 and Mark Zuckerberg (Jesse Eisenberg) is sitting in a bar with his girlfriend (Rooney Mara). He explains to her the importance of belonging to one of Harvard University’s eight prestigious all-male social societies called “final clubs”. Why? Because they’re “exclusive,” a word that Mark does battle with throughout the movie. Mark has a serious personality problem. To put it in psychological terms, he’s an asshole. Because of his intelligence, he gives off a stink of superiority and has no tolerance for those whom he thinks are beneath him (Read: everybody). He’s bullish and stubborn, which, of course, makes him unlikeable. His only option is to do something that makes people accept him.

Enter the Winklevoss twins (Armie Hammer). These 6’5” blonde Adonis’s are everything Mark is looking for: members of the Porcellian “final club”, future Olympic rowers, and holders of inherited money. They sit at the head of the cool kids’ table, shining examples of the kinds of people Mark wants attention from. He gets it after creating something called FaceMash.com, a small website so powerful it shuts down Harvard’s servers. The Winklevoss twins bring him in for a meeting with the Porcellian Club stairway and tell Mark their idea: create a social networking site defined by exclusivity, where women can find and meet Harvard men. It seems like everything Mark wants. But he’s not in a “final club,” he’s in a stairway. He’s not friends with the Winklevosses, he’s a business partner. He hasn’t been accepted – he’s been reached out to with a ten foot pole.

Whether because of his attitude or his approach, everything that Mark does to gain acceptance ends in rejection. He tells his girlfriend that being in a final club would allow her better access to the upper class, leading her to dump him. Mark’s first attempt to make a website in the film, a site where pictures of female Harvard students are posted next to each other and the users click on the girl that they think is the hottest, is wildly popular but results in every girl on campus seeing him as a sexist pig and their boyfriends repeatedly threatening him. Facebook is a billion dollar idea that winds up with Mark dealing with two simultaneous lawsuits, one of which comes from his best friend.

You may be tempted at this point to think of Mark Zuckerberg as a sympathetic character, a Willy Loman or Shelley Levene for the 21st century. Don’t be fooled - Mark Zuckerberg is a tyrant, an unstoppable force. Every effort Mark makes to gain acceptance winds up hurting someone; he is a serial bridge burner. Feeling disrespected by the Winklevosses, he morphs their idea and keeps them dangling on a string before cutting them off entirely. When his best friend and Facebook business partner, Eduardo Saverin (Andrew Garfield), becomes a prospective final club member, gaining the acceptance that Mark craves, he begins to shut more and more doors, rejecting idea after idea, before Eduardo is left behind completely. Mark is attempting the impossible, trying to gain acceptance through rejection.

This isn’t a simple film. It’s not the paint-by-numbers approach that you might see from a director less talented than David Fincher. At no point during the movie is the audience meant to sympathize with Mark. There’s no emotional scene during the climax where he crawls into a corner and bawls uncontrollably because he feels so alone. While the audience may feel the occasional shiver from the cold, Aaron Sorkin’s script never lets the audience feel distanced from the material. Eisenberg, recently stuck playing the nebbish, nervous weakling elsewhere, is stronger and more captivating here than we’ve ever seen him. There’s more than a film here; there’s a comment.

All of us can relate to Mark Zuckerberg. And that’s what will keep you engaged. You and I both want that same acceptance and equality Mark wants. Plenty of movies show that heavy is the head that wears the crown. We have enough movies where money goes to people’s heads and they espouse that greed is good. The Social Network outright rejects the tropes of power and money. Instead, Fincher and Sorkin have given us something that we can all understand and relate to: the costs of the desire for acceptance when it mutates into the blind ambition of social climbing. There are a finite number of slots on a baseball team roster, only so many seats available at the cool kids table, and we all want to be offered that last spot.

http://www.thewrap.com/movies/column-po ... work-20795

Online Critics' Early Reaction to 'The Social Network': Like, Like, LIKE
By Jeff Sneider
Published: September 13, 2010 @ 12:14 pm

Sony's savvy publicity department recently invited a handful of online writers to an early screening of David Fincher's "The Social Network," and has now allowed those critics to post early impressions of the studio's Oscar hopeful, though many reactions read like full-length reviews. Needless to say, TheWrap called this one very early on. Traditional media outlets will have to wait a while longer to post their own reviews, but here's what the blogosphere has been buzzing about all day ...

Eric 'Quint' Vespe of Ain't It Cool News:

"I was blown away… The flick has zero fat on it… All the characters pop… All the dialogue, whether sad, funny or serious, is sharp and most important of all, entertaining… Mark Zuckerberg is the character Jesse Eisenberg was born to play… I have a feeling a lot of geeks will be solidly behind [Andrew Garfield] as Peter Parker after seeing this movie, and I think you'll get why David Fincher settled on Rooney Mara for his Lisbeth Salander... This flick doesn't really tell you to root for Zuckerberg or those that claimed he ripped them off. Did he or didn't he? That's kinda left up to you… Atticus Ross & Trent Reznor's score [is] amazing. Jeff Cronenweth's cinematography is also brilliant... Fincher himself is in top form. I loved this movie and I think it officially kicks off the 2010 Oscar race."

Drew McWeeny of HitFix:

""The Social Network" represents the very best of both Aaron Sorkin and David Fincher... Emotionally intense, surprisingly funny and genuinely significant. This is an astounding film about one of the most important seismic shifts in communication in the modern age, and the way innovation and ethics are not often related… I wasn't expecting to be hit emotionally the way I was… The surprise of the film though? Justin Timberlake. Good god -- he is genuinely impressive as Sean Parker... In this film, Fincher is working on a whole different level. His use of digital photography is impressive, and he manages to make even the simplest moments in the film visually arresting... The score by Trent Reznor is spare and effective, and really builds a mood over the course of the film... Every one of Fincher's collaborators seems to have been working at the top of their game, and the result is entertaining from start to finish."

Devin Faraci, formerly of CHUD:

"It's dense and deep and often delightful... It's a great film not just about the founding of Facebook, not just about living in the modern digital age, but also about the very impetus for creativity. In the end, "The Social Network" is a movie about why we invent things... David Fincher seems to have found the perfect partner in screenwriter Aaron Sorkin. Because [they're] more interested in the people and their motivations, "The Social Network" remains gripping... It's bolstered by frankly incredible performances from a young cast.

http://entertainment.pastapadre.com/201 ... al-network

Based on the story behind the founding of Facebook, The Social Network is adapted by Aaron Sorkin from the book ‘The Accidental Billionaires’. Directed by David Fincher it carries with it some large hype and soaring expectations while fighting some misconceptions along the way.

While it seems headed for recognition at the Academy Awards, and despite my being captivated throughout, there was something about it that kept me from feeling completely fulfilled as I mentally assessed it during and since. After letting it sink in I think that had to do with the real world nature of what was being seen on screen. That unease may actually be a significant contributor to the value of the film.

Facebook is a website almost everyone uses, and seeing the back story created this sense of unease at supporting those who maybe many wouldn’t want to support but do so nonetheless by frequenting the website. With how entrenched it is within our culture it really doesn’t matter though as people aren’t going to change their habits…and maybe that is the point as the film hits on so many elements of the world we live in today.

The Social Network is essentially told from two different timelines, with Mark Zuckerberg (Facebook CEO) facing questions at depositions while cutting back to the events as they happened and watching them play out. It took a little while to get into the flow of this as the film really starts at full steam and never slows down. It can be a little intimidating and I found my head spinning a little bit as I tried to connect the events and characters and keep up with what was going on. It did settle for me though as events progressed.

This is easily one of the most dialogue heavy movies that I’ve ever seen. Considering the script was done by Aaron Sorkin that will probably come as little surprise. However it is worth noting, as going in expecting anything but will lead to disappointment or potential boredom. I’m a Sorkin fan and even I found it overwhelming to an extent.

I was captivated throughout though and found myself wanting more. I don’t know if the conclusion was too abrupt, but I was expecting more to come. That would seem to be a compliment as the film never let up through its two hours, and despite carrying so much weight I was hoping it would go further and was surprised at how quickly those two hours seemed to breeze by.

Jesse Eisenberg does a good job portraying Zuckerberg, though I really didn’t like him. That is probably a credit to Eisenberg as it wasn’t his performance I didn’t like, but instead the guy he was playing. It was nuanced enough though and they tried to provide hints of a conscience. I found that to be somewhat contrived and forced, almost as if that was one of the promises they made to Zuckerberg in all the discussions the filmmakers had with him during development.

It was Justin Timberlake who stole the show as Sean Parker with one of the smoothest performances in recent memory. My feeling on Parker swung wildly throughout the film, but there was no denying the magnetic type quality of the character and how he was portrayed by Timberlake. I also enjoyed Andrew Garfield and Rooney Mara quite a bit. Garfield, recently announced to be the new Spider-Man, was credible and grounded (though seems too old to be playing a high school student in that upcoming reboot). And while Mara only appeared in a couple scenes she had obvious screen presence. That certainly contributed to her getting the highly sought after role in the upcoming trilogy adaptation that begins with The Girl With the Dragon Tattoo which is also being helmed by Fincher.

The most surprising element of the film was the score. Trent Reznor of Nine Inch Nails did the entire thing and it was exceptional. I was taken aback at points where it added true gravity to the scenes, almost providing suspense on its own accord. It was so good that I’m seriously considering buying the score which is something I’ve only done on a few occasions in the past.

The Social Network is a fascinating look at not just the drama that came with the creation and explosion of Facebook but also in how it presents a compelling take on human nature and current society. Certainly it won’t be for everyone given the non-stop heavy dialogue and unlikeable lead being portrayed. However it is definitely not a movie that should be passed over because it is the “Facebook movie”. It is so much more than that. Undeniably interesting , well acted and directed, The Social Network is worthy of consideration and the praise it will receive going forward.

[Gorka]

¿Cuándo sale aquí? Le he pegado un vistazo general al post y no lo he visto.

Hay ganas aunque a mí el actorillo ese no me acaba de entusiasmar. Aunque bueno tengo fé en Fincher pocas veces me defrauda. Logicamente esta si que me esperaré a verla en cine.

p.d: Gorka se estrena el 15 octubre 2010.

Yo también tengo ganas de que se estrene, y quizás hasta me compre el libro en el que está basada, que lo vi el otro día en El Corte Inglés.

Y eso que no entiendo nada de Facebook (me hice uno hace unos tres meses y no lo he vuelto a tocar), pero me parece muy interesante esta historia.

El libro según he leído hay quien dice que no es ninguna maravilla, y según los creadores de FB está lleno de cosas que nunca pasaron y tal, pero parece ser que el guionista de la peli ha mejorado mucho toda la historia, pero tampoco se sabe qué de lo que sale en la peli será absolutamente verdad y qué no (bueno, excepto las cosas que obviamente sean demostrables, que supongo que habrá bastantes), ya que el creador de FB parece ser que dice que hay muchas cosas que son mentira, pero es que parece ser que tanto en la novela como en la peli se le pinta como un cabronazo de mucho cuidao, por lo que es normal que diga que él no es así.

Yo tampoco he tenido nunca FB ni absolutamente nada del rollo este (Twitter, Myspace, Tuenti, Last FM, Spotify, etc...), he resistido a la moda pese a que todo dios que conozco tenga mierdas de éstas, pero la historia y la peli pintan bien, por lo que habrá que catarla (y no sólo por el detalle friki de que la banda sonora es de Trento ).

Los que no teneis FB sois la esperanza de la raza humana. (nótese la ironía).

Los que no teneis FB sois la esperanza de la raza humana. (nótese la ironía).

Lo sé (y sin ironía ).

¿HOLY SHIT?

http://www.metacritic.com/movie/the-soc ... ic-reviews

¿Es para tanto?

Acabo de ver en el Twitter de NIN que en RT también tiene un 100%:

RottenTomatoes The Social Network debuts at 100%, with critical comparisons to Citizen Kane and The Godfather. http://ow.ly/2IozQ

Por si alguien no sigue el hilo de la BSO en extranjeros pero quiere leer la entrevista con Fincher y Reznor:

http://pitchfork.com/features/interview ... d-fincher/

Entrevista de 50 minutos con Fincher:

http://www.slashfilm.com/2010/09/28/50- ... d-fincher/

En Metacritic la película tiene un 98 en trece críticas, y no creo que el creador de Facebook esté sobornando a los medios.

Alguien ha visto una puntuación tan alta en esta web? La más alta que yo recuerdo es la de Dr. Strangelove, que tenía un 96...

Pues hasta hace nada tenía un 100%, y en RottenTomatoes que es casi más importante que Metacritic sigue teniendo un 100% con 35 reseñas de distintos medios.

Y el de FB prohibió la publicidad de la peli en su web, cuando al ser "la peli de Facebook" deberían de estar promocionándola a saco, pero como en la peli sale como el culo parece ser que no le hace mucha gracia. Hace nada fue al programa de la Oprah y dijo que la peli estaba bien pero que no se parecía a su vida ya que lo suyo no era para tanto ni su vida tan dramática, que es sólo una peli. Y de paso anunció que iba a donar 100 millones de dólares para no sé qué, se dice que para intentar limpiar su imagen tras lo que cuenta esta peli.

http://www.worstpreviews.com/headline.p ... 11&count=0

Facebook co-founder Mark Zuckerberg was recently spotted at a screening of "The Social Network," which focuses on the early days of the website and drama between the owners.

After seeing the film, it was almost immediately announced that Zuckerberg will be donating $100 million to help schools in Newark, New Jersey. He's clearly just trying to improve his image that will be damaged by "The Social Network." But this donation got him an invitation to Oprah's show and got us an opportunity to find out what he thought of David Fincher's new film.

"It's a movie, it's fun. A lot of it is fiction, even the filmmakers will say that. They are trying to build a good story," said Zuckerberg. "I can promise you, this is my life so I know it's not that dramatic. The last six years have been a lot of coding and focus and hard work, but maybe it would be fun to remember it as partying and all this crazy drama."

Meanwhile, "The Social Network" has 100% fresh rating on RottenTomatoes. It is scheduled to hit theaters on Friday (October 1st).

En Metacritic la película tiene un 98 en trece críticas, y no creo que el creador de Facebook esté sobornando a los medios.

Ya pasó con Inception,aún no ha llegado el turno de las hostias para que le baje la media .Y después también hay que ver de que medios quieres fiarte,que seguramente algunos ya iban predispuestos a hacer limpiezas de sable xD.

Que conste que yo también tengo ganas de eyacular con la película eh.

En Metacritic la película tiene un 98 en trece críticas, y no creo que el creador de Facebook esté sobornando a los medios.

Alguien ha visto una puntuación tan alta en esta web? La más alta que yo recuerdo es la de Dr. Strangelove, que tenía un 96...

El laberinto del Fauno tiene un 98.

La peli está estrenada ya en EEUU, 40 críticas y un 97, no tiene pinta de que vaya a bajar mucho, no se por qué me da...

http://www.elpais.com/articulo/reportaj ... grep_3/Tes