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See, this is why we need a "dislike" button

"The Social Reckoning," written and directed by Aaron Sorkin, enters multiplexes with one arm tied behind its back. It's not entirely fair to Sorkin's new film, but never has a movie had such a flawless shadow hovering over every flickering frame. How does one follow up David Fincher's 2010 "The Social Network," the best film of the century so far (and the movie named the best of the 2010s here)?

It's easy to understand the temptation to reexamine Facebook through film sixteen years after "The Social Network." The 2010 movie was about the origins of the social media platform, but nearly two decades later, Sorkin felt it was now time to capture how Facebook has shaped our thoughts and ideologies, politics, and consumption of news. Spoiler alert: It's all bad.

Sorkin, who won an Oscar for writing "The Social Network," takes over directing duties from Fincher for the follow-up. Since Sorkin began directing with 2017's "Molly's Game," it seems like the general consensus has always been he's a great writer and a so-so director. "The Social Reckoning" is the fourth film he has helmed, and it confirms one thing: this generationally talented writer has become one of the generation's most heavy-handed filmmakers. Unfortunately, moving into directing has also started affecting his screenplays, because a lot has changed in that department in 16 years.

"The Social Reckoning" is about a hodgepodge of things, but the central story surrounds Wall Street Journal reporter Jeff Horwitz (Jeremy Allen White), who doesn't know much about tech or social media since he's on the political beat. He convinces his editor that he can learn the social media aspect because there seems to be a connection between these platforms and how politics is being shaped. He teams up with Frances Haugen (Mikey Madison), who is an engineer at Facebook and loves her job. Even so, some of the company's policies don't sit well with her, and once she works through her apprehension she is willing to be the whistleblower Jeff needs for his story.

While Jeff and Frances are toiling over information for Jeff's story is when "The Social Reckoning" is at its most interesting. As a fairly by-the-numbers journalism film, the movie captures the basics of hitting the ground searching for the facts for a story. But Sorkin incorporates a back-and-forth timeline structure, where the other part of the movie is Mark Zuckerberg (Jeremy Strong) being prepped for a congressional hearing (recent "Sinners" Oscar nominee Wunmi Mosaku and comedian Bill Burr get some strong moments in these sequences). Everything with Zuckerberg - including Strong's robotically self-aware performance - brings "The Social Reckoning" down with its heavy-handedness.

Sorkin has always played with timelines and structure (particularly in his great "Steve Jobs" screenplay) and it's clear why he uses the dual stories to shape his new film. As Jeff and Frances are putting the story together about Facebook's outsized influence, Zuckerberg is preparing to answer for what role the company played in the 2020 election and the subsequent attack on the Capitol on January 6, 2021. Some may think it's too soon to relive such a dark chapter in American history, but the problem really is how Sorkin portrays it all. From the imagery to the dialogue, to an opening sequence that comes back towards the end in eye-rolling fashion, Sorkin all but comes into the frame himself with a sign that says "This Was Bad!" It's as if he doesn't trust his audience to receive the message he was intent on delivering.

Of course, "The Social Reckoning" was never going to be as good as "The Social Network." Most modern movies aren't. It's understandable why Sorkin would want to revisit Facebook again, given the behemoth it grew to be, but "The Social Reckoning" feels like a didactic lecture. The influence of Facebook - and any other social media platform - on our politics is troublesome, and it feels like Sorkin wants that to be the revelation of the movie. Tell us something we don't know.