What’s most astonishing about the movie The Social Network isn’t that it was created, but the speed in which its creation occurred. The subject matter of the movie, Facebook and its founders, have been in the public consciousness for a little over five years. In film time that is astonishingly fast for a movie on Facebook to come around. In some ways the movie’s existence came about almost as fast as the creation of Facebook itself.
Jesse Eisenberg, previously seen in Adventureland, Zombieland and Holy Rollers, plays Mark Zuckerberg, the elusive co-founder of Facebook. Right away we’re meant to dislike this person, as his response to his girlfriend dumping him for being an asshole is to write malicious comments about her on his blog while simultaneously creating a website that allows students to rate the attractiveness of Harvard female undergrads. But it’s not simply his actions that make this portrayal unlikable. It’s everything about Zuckerberg. Throughout the movie he carries himself with a superior air around him; as if he believes he’s better then everyone around him. To him he’s above the rules of others and can do whatever he wants to get ahead, even if it screws over others. But it would be unfair to call him a sociopath, as he clearly does care about others and what they think about him. Eisenberg was very good in his portrayal of Zuckerberg, erasing all previous images of the very likeable characters he’s played in the past.
The story of how Facebook came about is shrouded in controversy, which the film goes to great lengths to address. After Zuckerberg’s Harvard attractiveness stunt he’s approached by twins Cameron and Tyler Winklevoss (hilariously played by Armie Hammer in both roles) about helping them set up a Harvard social network called Harvard Connection. Mark agrees to help them, then goes off and creates his own Harvard social network with his friend Eduardo Saverin (Andrew Garfield). They launch their website, called TheFaceBook, and it is an immediate hit. Cameron and Tyler are furious since Mark not only stole their idea but intentionally led them on that he was working on their project so he guaranteed that his site would be launched first. The twins, along with their business partner Divya Narendra (Max Minghella) decide they will not stand for this atrocity and begin taking legal action against Zuckerberg. While this goes on the website grows to include other Northeast schools. The site catches the attention of Napster founder Sean Parker (Justin Timberlake), who is brought on as a consultant. As Mark and Sean grow closer Eduardo begins to slowly become shut out of the project.
Throughout the film the action shifts to two depositions involving lawsuits against Zuckerberg. The first is by the Winklevoss twins and Narendra, who are suing Zuckerberg for stealing their idea. The second is by Saverin, who is suing Zuckerberg as a result of a much deeper betrayal. I won’t reveal what it is exactly, only that by the time it comes up Garfield’s character can’t even look at Zuckerberg.
The movie runs at a brisk pace without feeling rushed or to speedy. While some have said the end of the film doesn’t offer any real closure that’s entirely the point. This isn’t the story of these character’s lives, but rather a specific time in their lives. Their stories are still being written, so they should be incomplete.
Overall this was a very enjoyable movie to see. I would recommend it to anyone, especially those why have a Facebook page. In some ways, you owe it to yourselves to see how your beloved social network came about.
Tuesday, October 12, 2010
Thursday, October 7, 2010
Let Me In: A Remake Worth The Price Of Admission
In general remakes of existing films are often met with suspicion and groans. The reason being is that in some ways films that are remakes can’t catch a break. If the remake stays to close to the story and shooting style of the original people ask why a remake was needed in the first place. And if the opposite approach is taken, in which a new story is created out of the existing picture, people complain that it destroys the credibility of the original film and ruins it.
Remakes that get the most scorn however are Americanized remakes of foreign films. The reason being is that films from other countries have a certain style and flavor of their own. Often times the qualities of the original will get lost in translation when it is remade by a filmmaker from a different country. Luckily the movie Let Me In manages to pull off the impossible, in that it is able to stand on its own two feet while keeping the magic of the original film intact.
Let Me In, based on the 2008 Swedish film Let The Right One In, tells the story of young Owen (Kodi Smit-McPhee), a lonely 12 year old boy living in 1980’s New Mexico. In addition to having an absentee father and an emotionally distant mother he is a frequent target of bullies, often being physically abused and taughtingly referred to as a girl. One day two new neighbors move into his building: a young girl named Abby (Chloë Grace Moretz) and her guardian (Richard Jenkins). The two develop a deep friendship, often leaning on each other for support. In the meantime a string of murders hit the town, with the dead victims found drained of their blood. This is directly connected to Abby, for in actuality she is a centauries old vampire who needs blood to survive.
While Let Me In is similar to its predecessor it’s not a shot for shot remake. Rather it is another interpretation of the original source material (the first movie was based on a novel). Some changes work quite well, like Owen realizing danger more quickly in this version and the removal of a few useless secondary characters. Other changes I found myself less thrilled with. The biggest change is how Abby’s vampirism is portrayed. In the Swedish film they were very subtle in showing her vampire nature. In this movie she physically transforms into an actual monster when she feeds. The effects and CGI are over done and take away from the sympathy of the character. It’s hard enough for the audience to root for this judicial killer. Adding a bunch of effects to further show her inhumanness makes this task all the more harder.
Like the previous film the strongest aspect of this movie are the two leads. Kodi Smit-McPhee brings sympathy and understanding to his role, even when he takes a knife and imagines threatening his enemies. Chloë Grace Moretz again plays an engaging character that is both tough and vulnerable, with more emphasis put on the vulnerability this time. But as strong as their characters are individually it is the chemistry they have together that is the real magic of the movie. The essence of the overall story is the unique friendship children form, with one of those children happening to be a vampire. And both of the young actors invoke it perfectly.
While I myself am often pessimistic about remakes, I must admit I was won over by this movie. By all means go out and rent the original. But don’t let the fact that it is as remake stop you from seeing Let Me In.
Remakes that get the most scorn however are Americanized remakes of foreign films. The reason being is that films from other countries have a certain style and flavor of their own. Often times the qualities of the original will get lost in translation when it is remade by a filmmaker from a different country. Luckily the movie Let Me In manages to pull off the impossible, in that it is able to stand on its own two feet while keeping the magic of the original film intact.
Let Me In, based on the 2008 Swedish film Let The Right One In, tells the story of young Owen (Kodi Smit-McPhee), a lonely 12 year old boy living in 1980’s New Mexico. In addition to having an absentee father and an emotionally distant mother he is a frequent target of bullies, often being physically abused and taughtingly referred to as a girl. One day two new neighbors move into his building: a young girl named Abby (Chloë Grace Moretz) and her guardian (Richard Jenkins). The two develop a deep friendship, often leaning on each other for support. In the meantime a string of murders hit the town, with the dead victims found drained of their blood. This is directly connected to Abby, for in actuality she is a centauries old vampire who needs blood to survive.
While Let Me In is similar to its predecessor it’s not a shot for shot remake. Rather it is another interpretation of the original source material (the first movie was based on a novel). Some changes work quite well, like Owen realizing danger more quickly in this version and the removal of a few useless secondary characters. Other changes I found myself less thrilled with. The biggest change is how Abby’s vampirism is portrayed. In the Swedish film they were very subtle in showing her vampire nature. In this movie she physically transforms into an actual monster when she feeds. The effects and CGI are over done and take away from the sympathy of the character. It’s hard enough for the audience to root for this judicial killer. Adding a bunch of effects to further show her inhumanness makes this task all the more harder.
Like the previous film the strongest aspect of this movie are the two leads. Kodi Smit-McPhee brings sympathy and understanding to his role, even when he takes a knife and imagines threatening his enemies. Chloë Grace Moretz again plays an engaging character that is both tough and vulnerable, with more emphasis put on the vulnerability this time. But as strong as their characters are individually it is the chemistry they have together that is the real magic of the movie. The essence of the overall story is the unique friendship children form, with one of those children happening to be a vampire. And both of the young actors invoke it perfectly.
While I myself am often pessimistic about remakes, I must admit I was won over by this movie. By all means go out and rent the original. But don’t let the fact that it is as remake stop you from seeing Let Me In.
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