Available all week, at 71% off the $34.95 list price. Mark.

In its entirety. Nerds.

-saturdaynightlive:

That’s a saving of almost $18.00. Hurry, get them before the price shoots back up!

Justin Timberlake is mounting an aggressive campaign to land himself a Best Supporting Actor Oscar nomination for his role in “The Social Network.” The singer-actor is pushing to land the nod as his movie career takes off with three pictures out this year.

A source close to Timberlake, 29, who’s currently filming sci-fi thriller “Now” in Los Angeles with Amanda Seyfried, said, “He’s hell-bent on getting a nomination this year even though he has tough competition from his co-star Andrew Garfield.

“Sony is footing the bill for advertising the awards campaign, but Justin is also doing things his own way, including attending Academy screenings on his own and privately reaching out to award winners and Academy darlings Tom Hanks and Kevin Spacey for campaigning advice.”

via awards-season

ohmygodwaytoolong:

Not to be reductive. The movie’s amazing. But I keep thinking of it this way.

Review: The Social Network

“You better fucking pay attention cause this is happening.” -David Fincher

Those looking for a better summation of The Social Network, look no further than the above quote (from an interview with Peter Travers live at the Apple Store in Soho). Fincher’s concise, commanding statement regarding Aaron Sorkin’s words and pacing not only perfectly describes the experience of watching this film but also its thematic story line. How convenient. And yet it’s hard to disagree.

Sorkin’s masterful screenplay comes at you hard and fast with more blink-and-you’ll-miss-it lines, moments, and incidentals than anyone person could digest in a single sitting. Like a fine wine, The West Wing creator is only getting better with age - and The Social Network script sparks and cracks, easily becoming the best thing about this movie. The characters are increasingly three dimensional, the structure is artfully crafted, the pacing is swift and exciting, and the dialogue is appropriately theatrical (in the sense that it could live on stage, not that its over the top).

The marriage of Sorkin’s words and Fincher’s image is surprisingly harmonious. Fincher pulls breathtaking performances from his young actors, while carefully crafting weighted, talk heavy scenes. How exactly does one make a movie made up of almost entirely dialogue interesting? Small tactics. For example as the movie progresses Eduardo slowly spins in his chair going from facing the table at the beginning to having his back is to the table at the end. Or a club scene (pictured above) in which the actors have to shout over the loud music, simultaneously providing a realism not often seen in club scenes and a method for pulling the audience in, making them feel like a part of the intimate discussion, and - for lack of a better term - fucking pay attention.

Rounding out the trifecta is the collection of performances put forth by the young cast. Rooney Mara, though appearing only briefly, makes a lasting, emotional impact. Her first scene with Jesse Eisenberg sets up the movie on many levels. Andrew Garfield is charming and rounded giving even the staunchest Spider Man fan hope. But it’s Justin Timberlake and Jesse Eisenberg who come out on top. Timberlake proves he’s a serious acting threat displaying proper restraint and delirious paranoia on opposite sides of the same coin. Eisenberg reels it in to give one of the most complex, introverted performances in a long time. A huge hand should be given to the mop head for making Mark Zuckerberg just as sympathetic as he is unlikable.

On a thematic level, we arrive back at Fincher’s Apple store quote. The film moves just as fast as the occurrences it dramatizes, perfectly symbolizing the requirement to be ahead of the curve. As technology grows at an exponential rate, many would agree on the amount of attention that needs to paid to come out on top. At once there’s both a nostalgia for the recent past and an immediacy of the events it portrays.

As for this being “The Facebook Movie,” that might need to be reevaluated. Yes, the events herein detail the invention of Facebook, and explain its raison d’etre stemming from Zuckerberg’s deep need to connect, but to call it such would be generalizing. An unfair generalization at that. There’s just so much more. Calling The Social Network “the Facebook movie” would be like calling Titanic ”the Boat Movie.” 

With so many singular talents collaborating on this vision, again we must heed Fincher’s words. Don’t ignore The Social Network’s event invitation and fucking pay attention.

(And to think I almost made it through the whole review without a lame Facebook joke).

Rainn Wilson’s new Twitter profile pic is fantastic.

Though the company has called The Social Network “fiction” and urged the filmmakers to cut scenes involving drug use, Facebook went on a company outing last night to see the movie. “To celebrate a period of intense activity at Facebook, we decided to go to the movies,” Facebook spokesman Larry Yu said. “We thought this particular movie might be amusing.” Reportedly, even Mark Zuckerberg checked it out with them, perhaps for a second time. (Maybe the guy really likes this film!) It makes sense that the company founders would secretly want everyone to see this movie, particularly their own employees. Sure there’s a whole bunch of back-stabbing, but if an interpretation of your boss’s life hit the big screen, depicting him or her at coke-fueled tech parties in Palo Alto and hooking up with groupies in the bathroom rather than sitting at a cubicle, wouldn’t you work that much harder?

Where Are Facebook’s Employees? At the Movies, of Course [Bits/NYT via Gawker]

I’m going tonight. You?

Jesse Eisenberg is the Jewish Michael Cera.

Edit: It’s been brought to my attention that Michael Cera is Jewish. Mind freak.

Social Network Love Child [PIC] | BuzzFeed