---
title: "The Social Network"
year: 2010
kind: "film"
canonical: "https://film.one/film/the-social-network"
fi1m_id: "the-social-network"
imdb_id: "tt1285016"
tmdb_id: 37799
wikidata_id: "Q185888"
fi1m_score: 91
critics_score: 90
critics_reviews: 6
published: "2026-09-15"
updated: "2026-09-26T18:27:57.596413+00:00"
region: "US"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# The Social Network (2010)

Directed by David Fincher · 2h 01m · MPA PG-13 · Drama

## Identity

The Social Network

- **Canonical:** https://film.one/film/the-social-network
- **Type:** Film
- **Fi1m ID:** the-social-network
- **IMDb ID:** tt1285016
- **TMDB ID:** 37799
- **Wikidata ID:** Q185888
- **Same entity:** https://www.imdb.com/title/tt1285016/, https://www.themoviedb.org/movie/37799, https://www.wikidata.org/wiki/Q185888

**Fi1m score: 91** · Critics 90 from 6 reviews

*In a sentence:* We could listen to these people all evening, but we would count the change afterwards

> David Fincher makes Facebook’s beginnings into a gripping, bitterly funny drama about people who need to win. Jesse Eisenberg gives it an unsettling centre; Aaron Sorkin’s occasional showiness is a small price for dialogue this good.

## Synopsis

Mark Zuckerberg (Jesse Eisenberg) is at the centre of Facebook’s creation and a struggle over ambition, loyalty and friendship. Around him are Eduardo Saverin (Andrew Garfield), Sean Parker (Justin Timberlake) and Cameron and Tyler Winklevoss (Armie Hammer), each part of the story of how the company begins. David Fincher’s drama moves between timelines and competing accounts, following the personalities involved in building a tool for social connection. As questions of power and privilege shape their dealings, Zuckerberg’s own difficulty connecting with other people runs through the story.

## Review

*The Social Network* is a superb drama about ambition, and we would recommend it even to anyone with no interest in Facebook. David Fincher and screenwriter Aaron Sorkin understand the appeal of watching clever people compete, especially when their urge to win makes them careless with other people. The company’s beginnings supply the story, but the reasons to keep watching are smaller and uglier: resentment, vanity and the need to be recognised. The film allows Mark Zuckerberg to be difficult without pretending that this explains everything about him.

Jesse Eisenberg makes Zuckerberg’s intelligence immediately persuasive and his company increasingly difficult to enjoy. He makes Sorkin’s fast dialogue sound like an irritation with having to explain anything at all. We laughed at his impatience, then felt uncomfortable about how readily we had accepted it. Eisenberg makes the dismissal of other people entertaining enough that we briefly mistake it for a reasonable way to behave. He also leaves enough loneliness visible for the character to hurt without asking us to forgive him.

Andrew Garfield’s Eduardo Saverin gives us someone whose feelings we can read without having to decode a competitive manoeuvre first. That directness matters alongside Eisenberg, whose smallest responses seem liable to become a contest. Justin Timberlake plays Sean Parker with an ease that makes the swagger persuasive: we can understand why somebody would listen to him for longer than was sensible. Between these performances, loyalty becomes something we care about before the script asks us to consider its cost.

Fincher keeps all this talk legible, helped by the clarity of Jeff Cronenweth’s cinematography. The images give us room to study the performances without making the conversations feel slow. Editors Kirk Baxter and Angus Wall make the movement between timelines brisk without blurring the competing accounts. Each return encourages us to reconsider what we have already heard. For a film so dependent on people talking, it rarely feels caught waiting for the next speech.

Trent Reznor and Atticus Ross’s score keeps us uneasy even when the dialogue is at its funniest. It helps Fincher stop the excitement of achievement from becoming an invitation to celebrate. Production designers David E. Scott and Donald Graham Burt give the concern with privilege a convincing physical setting. Their work helps us sense how much social position matters to these people before the dialogue spells it out.

Sorkin does occasionally make us hear the writer working. Some exchanges are so determined to land the sharpest possible reply that a conversation starts to sound like an audition for the next quotable line. The pace carries us past most of these moments, but the same cleverness that makes the film pleasurable can narrow its people. We wanted, once or twice, a little less verbal certainty, especially in a story whose competing accounts otherwise leave useful space for doubt.

Business dramas can become dutiful when they start explaining why their subject matters. This one trusts that we will want to watch people pursue something, and that their behaviour will be enough to hold us. Fincher lets us follow the competing perspectives and decide how much we believe, without making the uncertainty a chore. Give it an evening when the conversation will not have to compete with your phone.

*Fi1m score 91, published 15 September 2026.*

## What the critics say

The reviews are consistently positive, with praise clustering around Sorkin’s sharp dialogue, Fincher’s controlled direction and Jesse Eisenberg’s performance as Zuckerberg. Most critics find the founding of Facebook compelling drama about ambition, loyalty and isolation, rather than merely an account of a business taking shape. Fincher earns credit for keeping multiple timelines and competing perspectives clear, while Eisenberg makes a difficult protagonist absorbing without making him reassuringly likeable.

There is little outright dissent, and the supplied reviews offer few substantial complaints about the filmmaking. The differences concern how critics interpret its central character and the significance of his creation. Total Film values the refusal to demonise Zuckerberg; The Guardian stresses the spite behind the enterprise and questions whether its money and excitement amount to anything substantial. The spread is chiefly one of enthusiasm, from firm approval to unreserved praise, rather than disagreement over whether the film works.

## Straight answers

**Is The Social Network worth watching?**

*The Social Network* is worth watching for anyone who enjoys clever people competing, and we scored it 91. David Fincher and Aaron Sorkin make Facebook's beginnings into a fast, bitterly funny drama about resentment and the need to be recognised, held together by Jesse Eisenberg's unsettling Mark Zuckerberg. Sorkin's dialogue is occasionally too pleased with itself, but that is a small price.

**How long is The Social Network, and what is it rated?**

*The Social Network* runs 2h 01m and is rated PG-13 by the MPA in the US. It is a drama film.

**Where can I watch The Social Network in the US?**

*The Social Network* is streaming on Apple TV, Tubi, Amazon Prime Video and The Roku Channel in the US, and it is also available to rent from Amazon Prime Video and Apple TV from $3.99. It leaves The Roku Channel on 1 October. Availability is checked daily; the links above go straight to each service.

**How violent or frightening is The Social Network, and is it suitable for children?**

*The Social Network* is a 12A drama with no violence or frights to speak of; its conflicts are fought in conversations, boardrooms and depositions. The adult content is cruelty and ambition rather than anything graphic, so older children and teenagers can watch it, though the fast talk about business and betrayal may lose younger viewers.

**How does The Social Network compare to The Apartment?**

*The Social Network* and [*The Apartment*](https://film.one/film/the-apartment) both put ambition and loneliness in the same office, but Fincher's film is the colder and quicker of the two, more interested in people who need to win than in whether they can be loved. Billy Wilder's is the more tender, and the funnier in a sadder way. Choose Fincher for pace and sharpness, Wilder for patience with people who ought to know better.

**What should I watch after The Social Network?**

After *The Social Network*, try [*The Apartment*](https://film.one/film/the-apartment) (1960, Fi1m 91): Ambition and loneliness share an office, with more tenderness and equally sharp writing. Then [*High and Low*](https://film.one/film/high-and-low) (1963, Fi1m 90): Another exacting drama in which status makes every decision harder to live with; and [*The Lives of Others*](https://film.one/film/the-lives-of-others) (2006, Fi1m 84): For the patient scrutiny of people who cannot afford to speak freely.

### Reviews we read (12)

- **Radio Times**, Trevor Johnston (5/5): The critic calls it a riveting morality tale and cautionary story of greed, loyalty and friendship, highlighting Sorkin's dazzling wordplay and Fincher's focused direction along with Timberlake's swaggering turn as Sean Parker. [Read](https://www.radiotimes.com/movie-guide/b-578job/the-social-network/)
- **Slant Magazine**, Nick Schager (4/4): The review lauds the film's electric pace and Eisenberg's performance, singling out the tragicomic portrayal of Zuckerberg's alienation despite creating a tool for connection, and Fincher's ambivalent take on the internet age. [Read](https://www.slantmagazine.com/film/the-social-network/)
- **Empire**, Damon Wise (85/100, inferred): The critic praises the film's sharp, dialogue-driven portrayal of the founding of Facebook as a paradox of connection and isolation, highlighting strong performances especially from Jesse Eisenberg and the restrained direction by Fincher that brings clarity to multiple timelines. [Read](https://www.empireonline.com/movies/reviews/social-network-review/)
- **Time Out**, Dave Calhoun (4/5): The critic praises the mischievous tale of Facebook's origins that combines Sorkin's talky rigour with Fincher's crisp imagery. Eisenberg's storming performance as Zuckerberg and the film's reminder of audience complicity in the social media story stand out. [Read](https://www.timeout.com/movies/the-social-network)
- **Total Film**, Andy Lowe (80/100, inferred): The critic calls it a compelling creation myth that succeeds by not demonizing Zuckerberg, commending Fincher's handling of multiple perspectives and unreliable narrators alongside Eisenberg's captivating performance as the driven but flawed protagonist. [Read](https://www.gamesradar.com/the-social-network-review/)
- **Film Comment**, Scott Foundas: The critic calls the film big, brash and brilliant, praising its razor-sharp script, energetic direction and perceptive social commentary on power, privilege and the shift to virtual society. [Read](https://www.filmcomment.com/article/the-social-network-review/)
- **Los Angeles Times**, Kenneth Turan: The critic calls the film a barn-burner of a tale, smartly written and directed to within an inch of its life, anchored by a perfectly pitched performance by Jesse Eisenberg. It succeeds as archetypal movie drama about the corrupting power of ambition while presenting Zuckerberg as unlikable yet compelling. [Read](https://www.latimes.com/archives/la-xpm-2010-oct-01-la-et-social-network-20101001-story.html)
- **The Guardian**, Peter Bradshaw: Fincher and Sorkin deliver a compulsively watchable portrait of the spiteful personalities and hyperactive spirit behind Facebook's creation, with strong performances especially from Jesse Eisenberg as Zuckerberg. The film captures the fever of the startup while implying it produced money and buzz rather than anything substantial. [Read](https://www.theguardian.com/film/2010/oct/14/the-social-network-review)
- **The Hollywood Reporter**, Kirk Honeycutt: The critic praises the mesmerizing portrait of the unlikable yet original protagonist Mark Zuckerberg, highlighting Fincher's direction and the insightful script that turns the story of Facebook's creation into a compelling character study of ambition and isolation. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/social-network-review-movie-2010-6050/)
- **The New York Times**, Manohla Dargis: The critic describes the film as a fleet, weirdly funny, exhilarating and alarming fictionalized look at the man behind Facebook, driven by desire, triumph and betrayal. It is hailed as a creation story for the digital age and a morality tale about the new power elite and the geek inheriting the earth. [Read](https://www.nytimes.com/2010/09/24/movies/24nyffsocial.html)
- **Variety**, Justin Chang: The critic praises the film as a penetrating, entertaining study of ego, ambition and the slippery nature of enterprise in the founding of Facebook. Fincher and Sorkin are singled out for the film's whip-smart dialogue, strong characterizations and disciplined direction that avoids gimmicks. [Read](https://variety.com/2010/film/reviews/the-social-network-1117943655/)
- **Den of Geek**, Ron Hogan (5/5): The critic hails the film as one of the most interesting, well-written and well-acted ensemble dramas of the year, praising Sorkin’s crackling script, Fincher’s direction and the strong cast. [Read](https://www.denofgeek.com/movies/the-social-network-review-2/)

## Details

- **Director:** David Fincher
- **Director:** David Fincher
- **Screenplay:** Aaron Sorkin
- **Cinematography:** Jeff Cronenweth
- **Editor:** Kirk Baxter, Angus Wall
- **Music:** Trent Reznor, Atticus Ross
- **Production design:** Donald Graham Burt, David E. Scott
- **Costume design:** Jacqueline West
- **Producer:** Dana Brunetti, Ceán Chaffin, Scott Rudin
- **Cast:** Jesse Eisenberg as Mark Zuckerberg; Andrew Garfield as Eduardo Saverin; Armie Hammer as Cameron Winklevoss / Tyler Winklevoss; Justin Timberlake as Sean Parker; Rooney Mara as Erica Albright; Max Minghella as Divya Narendra; Brenda Song as Christy Ling; Josh Pence as Tyler Winklevoss (Body Double)
- **Runtime:** 2h 01m
- **Certificate (MPA):** PG-13
- **Release (the US):** 1 October 2010
- **Genres:** Drama
- **Also in:** [Best Picture winners](https://film.one/collections/oscar-best-picture.md) (Nominee, 2010); [BAFTA Best Film winners](https://film.one/collections/bafta-best-film.md) (Nominee, 2010); [Golden Globe Best Drama winners](https://film.one/collections/golden-globe-drama.md) (Winner, 2010)
- **Budget:** $40 million
- **Box office:** $225 million
- **Trailer:** https://www.youtube.com/watch?v=rBCNU0XT9GY

## Where to watch in the US

- Apple TV: streaming, uhd
- Tubi: free
- Amazon Prime Video: add-on, uhd
- The Roku Channel: add-on, hd, leaving 2026-10-01
- Amazon Prime Video: rent $3.99, uhd
- Apple TV: rent $3.99, hd
- Apple TV: buy $14.99, hd
- Amazon Prime Video: buy $14.99, uhd

*Checked 2026-09-15.*

Also available in: AE, AR, AT, AU, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, EC, EE, ES, FI, FR, GB, GR, HK, HR, HU, ID, IE, IL, IN, IT, JP, KR, LT, MX, MY, NL, NO, NZ, PA, PE, PH, PL, PT, RO, RS, SE, SG, SI, SK, TH, TR, UA, US, VN, ZA. Add `?region=XX` to this URL for another country.

## Awards

- Academy Awards 2011: Best Actor (nominated); Best Cinematography (nominated); Best Director (nominated); Best Picture (nominated); Best Sound (nominated); Best Film Editing (won); Best Original Score (won); Best Writing, Adapted Screenplay (won)
- Dallas-Fort Worth Film Critics Association Award for Best Film 2010: Dallas-Fort Worth Film Critics Association Award for Best Film (won)

## If you liked this

- *The Apartment* (1960), Fi1m 91: Ambition and loneliness share an office, with more tenderness and equally sharp writing. — [Fi1m page](https://film.one/film/the-apartment.md)
- *High and Low* (1963), Fi1m 90: Another exacting drama in which status makes every decision harder to live with. — [Fi1m page](https://film.one/film/high-and-low.md)
- *Shattered Glass* (2003): Quick thinking becomes dangerous company in another tightly controlled drama of professional ambition.
- *The Beat That My Heart Skipped* (2005): A more physical study of ambition, with a similarly difficult man at its centre.
- *The Lives of Others* (2006), Fi1m 84: For the patient scrutiny of people who cannot afford to speak freely. — [Fi1m page](https://film.one/film/the-lives-of-others.md)

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/the-social-network