![]() All of that was topped off with an Academy Award-winning techno-industrial-horror score that launched Trent Reznor and Atticus Ross as the decade’s composers of America’s anxieties ( Gone Girl, Bird Box, Watchmen). Aaron Sorkin’s best script, a dolphin-skin-smooth nightmare, and Jesse Eisenberg’s best performance, megalomaniacal paranoia at its most delicious, nailed (spiritually, if not entirely factually) Facebook’s slippery origins and presaged its assaults on privacy, democracy, and consciousness. “The movie,” as Facebook executives still indignantly call it, set the tone for the decade in both film and the tech metanarrative. ![]() This content can also be viewed on the site it originates from.
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