The Social Reckoning (2026)
I’m not severely allergic to Aaron Sorkin in the way that some are. If you are, sincerely: just disregard every positive thing I say about this, because I do get why a Sorkin hater isn’t going to enjoy this.
The first half of this movie is pretty great. The coverage of an internal whistleblower makes for some kinetic and fairly engrossing filmmaking. The clandestine meetings are suffused with a fair amount of tension, and I was very locked in. Mikey Madison’s, uhh, disguises she would frequently wear when attending said meetings? A little discomfiting, honestly. You’ll know what I’m talking about if and when you see it. But that’s really my only note on that front; otherwise, this material is all really solid.
The back half is less strong. The ending comes across like Sorkin didn’t know how to punctuate the movie all that well, so he shrugged and just found a viable exit. The ending isn’t bad, but I won’t pretend that it sent me out on a satisfying note.
While this performance is not, and does not try to be, the sort of powerhouse performance Madison turned in for Anora, it’s impressive. She’s here to stay; I’m even more confident in that now. Jeremy Allen White held his own reasonably well here and basically gave the role what it was asking for. But when he and Madison shared the screen, something they did often in this movie, it was always clear that she was operating a level above him.
Jeremy Strong’s performance as Mark Zuckerberg is…a bit strange. I didn’t completely hate it, but it was just so broad and outside how I conceive of Zuckerberg that it honestly reminded me of the over-the-top Gary Oldman take on Harry Truman in Oppenheimer. And that’s not particularly a compliment. Bill Burr, on the other hand, is great casting and gives a very entertaining supporting performance.
I thought this did a good job of vilifying Facebook without tipping so far into the sanctimonious that it ever became too annoying. I’m not saying that Sorkin never hit a sour note in this script; I did roll my eyes here and there, but just not enough to meaningfully bring the movie down.
I set my expectations in a reasonable place, knowing that of course it’s genuinely ludicrous to hope that the Sorkin/Sorkin movie would meaningfully compete with the Fincher/Sorkin movie, and I walked away happy with what I got.
3.5/5