It’s no secret that social media has left an indelible mark on the world. Whether it’s more of a positive or a negative mark depends on who you are and how you view its impact. The new documentary, The Social Dilemma, certainly is of the opinion that it’s doing major damage to the world, and in particular, to the youth of the world. In fact, it’s probably more of a fact than an opinion. However, while the Netflix release does make this case, it does so in a rather frustrating and puzzling manner that robs it of most of its effectiveness. Now available on the streaming giant, it’s intriguing, but an ultimately disappointing experience. The documentary is an unusual mix of investigative journalism, expose, and also narrative drama. The subject matter is, of course, the reliance on social media that people of all walks of life have developed in recent years. Not only is that examined psychologically, but Silicon Valley insiders take part, explaining just how and why certain decisions were made. The addictive nature of Facebook, Instagram, Twitter, and such, it’s all there, given an ominous streak. Not only are whistleblowers and those in the know giving their two cents, but a recurring thread has the elements being discussed shown in narrative vignettes, putting fictional faces and names to the events depicted. It’s all designed to make you think twice before you like, post, or tweet. Jeff Orlowski directs and co-writes, with the other writers on the flick being Davis Coombe (who also edits) and Vickie Curtis. For the narrative bits, Skyler Gisondo, Kara Hayward, and Vincent Kartheiser lead the cast. Mark A. Crawford contributes an ominous score, while the cinematography is by the duo of John Behrens and Jonathan Pope. What really hurts this doc is the bizarre insistence on dramatized footage. For some reason, filmmaker Jeff Orlowski keeps switching from his talking head and stock footage documentary format to something almost resembling a narrative feature. Now, Skyler Gisondo, Kara Hayward, and Vincent Kartheiser (among others) are fine, but it’s a strange choice that absolutely does not work. It stops the doc dead in its tracks. Orlowski’s direction can’t manage to make it work, while the screenplay he penned with Davis Coombe and Vickie Curtis never makes a compelling case for this inclusion. Unfortunately, it ends up being a fatal flaw here, as the whole project becomes too […]