Tyler Heberle’s review published on Letterboxd:
"It may not have been good business, but it pissed a lot of people off!"
Described by Fincher himself as a movie driven by a low-stakes conflict over which character will become less rich, this becomes uncomfortable with age in the best of ways. It builds on the foolish pretense FIGHT CLUB's privileged protagonists but adds a beating heart that makes it more enjoyable to rewatch. Zuckerberg's entire path to fame and infamy is driven by an urge to get back at the jocks he associates with taking his girlfriend away from him. As he walks through the snowed in streets of Harvard, the success stories of students past haunt him the same way the Zodiac killings haunted Robert Graysmith. As an antihero story rooted in the folly of treating trivial concerns like life or death, this stings.
It's even a showcase of the kind interior that Fincher's too rarely given credit for alongside his trademark nihilism. Moments like a young woman's heartbreak at seeing her roommate in a misogynistic picture-sharing website, and Eduardo's genuine attempts to help the man underneath Zuckerberg's self-imposed myth, are gems in the internet-age rough. It's a movie about a world growing up faster than its youth, and all the mistakes and misconceptions that follow suit.
It's haunting, sad and secretly sweet. And it's probably the best thing Aaron Sorkin will ever write.