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Instead, his direction is used solely to cater to Sorkin’s screenplay and the performances.

There’s no denying this is the finest script of Sorkin’s already-prestigious career, ably telling a story whose very nature involves a lot of computer techno-babble, yet all the snappy rapid-fire interactions never distracts from the storytelling.

The movie is the journey from that opening conversation, face-to-face in the bar, to the repetition of two shots -- a close-up of Mark's face, and a close-up of Erica's Facebook page on his laptop screen -- as he keeps hitting "refresh" to see if she will respond to his attempt to "friend" her. As Mark says, "I want to take the entire social experience of college and put it online." At least, in that form, it's something he can manage.

Facebook is a great tool for keeping in touch and maintaining distance.

(Banner illustration by Max Dalton) The Ebert Club is our hand-picked selection of content for Ebert fans.

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Then again, if he'd been more social, he probably wouldn't have been motivated to invent Facebook.

Anyone who has spent more than a few minutes on the internet has encountered people like Mark, smart but self-righteous people whose lack of social graces makes the internet the perfect place for them to shine.

We’re introduced to Marks’ best friend and fellow Harvard junior Eduardo Saverin, played by Andrew Garfield, during the lawsuit depositions that create a framing device for the non-linear structure the movie quickly takes on, which is also where we meet Cameron and Tyler Winklevoss, twin athletes who hire Mark to program their own Harvard-based dating site, which they allege inspired the idea for Facebook.“The Social Network” is a fascinating departure for Fincher, since it’s not a film that gives him a lot of room to flex his flair for the visual as with earlier films.

Matt Zoller Seitz has a very good idea why that is: it's a horror film.

Next Article: Cracking the codes: More ways of looking at The Social Network Previous Article: Cutting the Basterds Roger Ebert became film critic of the Chicago Sun-Times in 1967.

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