The whole point of Wes Anderson movies is to be anti-climatic with style and here it works.
A criticism I’ve heard a lot about MANK is that it’s like Mank (Oldman) thinks he’s in a different movie. But I think his Mank is the one Fincher intends. A smart ass, a know-it-all, always with a choice quip that keeps him above the fray. I rather awkwardly and painfully identify. That specific critique is probably most noticeable in the final Hearst scene where Oldman’s slurry speechifying takes a turn into Dudley Moore territory.
Like Oldman’s Mank, MANK the…