Aaron Sorkin's 'Social Reckoning' Reviewed: A Disappointing Follow-Up to 'The Social Network'

“The Social Reckoning,” the highly anticipated follow-up to the critically acclaimed 2010 film “The Social Network,” delves into the controversial period of Facebook’s reputational decline between 2019 and early 2021. While the original movie, a massive success grossing $225 million and earning eight Oscar nominations, was lauded for its prescience in warning about Facebook’s potential dangers, the sequel, helmed by screenwriter Aaron Sorkin, struggles to replicate that groundbreaking impact. Despite tackling undeniably timely themes and featuring glimmers of excellence, particularly in its performances, “The Social Reckoning” is largely seen as a downgrade from its predecessor, lacking the urgency, magic, and distinct directorial vision that David Fincher brought to the first film. Many critics have noted an air of “too little too late,” given the drastic shifts in the tech landscape since the original’s release.

The film’s narrative focuses on Facebook’s transformation from a tool meant to unite people into one that sows division, examining its profound impact on major cultural events such as the COVID-19 pandemic and the January 6th insurrection. The story unfolds primarily through the efforts of Jeff Horwitz (Jeremy Allen White), an investigative reporter from the Wall Street Journal, who, despite his lack of technological savvy, begins covering the newspaper’s tech beat. His quest for a source within Facebook’s secretive civic integrity team eventually leads him to Frances Haugen (Mikey Madison), an engineer who, initially believing in Facebook’s positive societal influence, grows increasingly alarmed by the platform’s recommendation of extremist groups and her colleagues’ apparent indifference.

Haugen’s growing disillusionment propels her to take drastic action. Seeing no other recourse, she covertly begins meeting with Horwitz, initially as an anonymous source. Eventually, she shares highly classified internal documents that expose Facebook’s “irresponsible actions” of ignoring, and often actively promoting, dangerous rhetoric on its platform for profit. This courageous move places her career, freedom, and even safety in jeopardy. Horwitz, with Haugen’s crucial assistance, uncovers truths regarding Facebook’s algorithmic support for extremist political groups and Instagram’s detrimental effects on young users, details that formed the basis of his significant “The Facebook Files” exposés. The film culminates with Haugen’s powerful testimony before the U.S. Senate Commerce Committee, a rare instance of truth being spoken to power. The narrative also includes a fictional prologue where a former friend of Haugen, Kayleigh (Portia Doubleday), uploads racist hate speech to a white-supremacist Facebook group, illustrating social media’s radicalizing power.

The film’s strength lies in the compelling performances and dynamic chemistry between Mikey Madison and Jeremy Allen White. Madison portrays Haugen with a captivating blend of “arrogant brilliance, short-tempered frustration, and bone-chilling fear,” effortlessly transitioning between sharp wit and anxious paranoia. Her bluntness, juxtaposed with an optimistic view of the company, provides refreshing nuance. White complements this energy as the “dogged but perennially patient reporter,” grounding the film with his “fish-out-of-water arc” and providing humorous moments. Their low-key interactions are widely considered the film’s strongest points. Jeremy Strong, stepping into the role of Mark Zuckerberg, delivers a fine performance, though the character is less central than in the first film, often relegated to mock Q&As and portrayed as emotionally constipated, a dramatically “dead end” for the narrative.

“The Social Reckoning” showcases many of Aaron Sorkin’s quintessential hallmarks: rapid-fire dialogue, political themes, and deep dives into specific, complex worlds. While this approach effectively presents intricate information in an engaging manner, the film falters when attempting to tackle larger scenes and broader themes. Madison’s delivery of a central monologue, for instance, feels stilted, often attributed to the screenplay rather than her acting prowess. The movie is criticized for being “heavy-handed” in its portrayal of political extremism and the January 6th events, yet “underbaked” when it attempts to incorporate topics such as cyberbullying and teen body image. Sorkin’s direction, while capable, lacks the visual ingenuity and distinct aesthetic that David Fincher brought to the original. The musical score, too, awkwardly oscillates between imitating the melancholic electronica of the first film and more ennobling orchestral themes. Ultimately, “The Social Reckoning” is seen as a less human, less candid, and less connected film than its predecessor, a “downgrade” that, despite its attempts to mourn what Facebook has become, falls short of earning the same level of impact or resonance.