Mank

Director: David Fincher
Starring: Gary Oldman, Amanda Seyfried, Lily Collins, Arliss Howard, Tom Pelphrey, Sam Troughton, Ferdinand Kingsley, Tuppence Middleton, Tom Burke, Joseph Cross, Jamie McShane, Toby Leonard Monika Gossmann, Charles Dance, Bill Nye
Running Time: 131 min.
Rating: R 

★★★ ½ (out of ★★★★)

During David Fincher's Mank, drunk, bedridden screenwriter Herman J. Mankiewicz is told by a producer that the assigned screenplay he's writing for young, hotshot director Orson Welles is "too complicated," confusingly jumping back and forth through time and careening out of control as he approaches an impossible deadline. If the script was just a structural mess maybe that could be fixed, but the bigger complaint is its inaccessibility, sure to drive away mainstream audiences. That working draft, titled "American," would eventually evolve into Citizen Kane, and everything turned out pretty well. Or did they?  Definitely for the film, but not so much for those directly involved. Listening to the criticisms of Mankiewicz's script, you can't help but think that without careful planning it could also apply to the movie that's just been made about it. But we also know this is a director who's nothing if not deliberate.

In adapting his late father Jack Fincher's script to the screen, David Fincher makes a noticeable effort to go beyond taking us on a time travel trip through Hollywood's golden age to deliver an experience that looks and feels as if it could have been released during that era. It attempts to appeal to both diehards who will triple-check its accuracy and more casual viewers unaware of the difference, but respectful of the craftsmanship. And there's plenty to admire in that department, with Fincher expertly channeling this period of filmmaking through dialogue, editing, sound and cinematography that invoke some of Kane's more famous moments.  

The deeper we're submerged into this monochromatic world of shattered dreams, lit cigarettes and broken wine bottles, the clearer it becomes that more bubbles under the surface of Mank as it masquerades as a straight biopic of an immensely successful failure. Movies about movies not only need drama that's worth our attention, but also a unique hook that grabs hold. The creative and personal bloodshed over Citizen Kane should be enough, but in the hands of a master like Fincher, it ends up instead being a thorough psychological dissection of the man who wrote it.  

It's 1940 when Herman J. "Mank" Mankiewicz (Gary Oldman) gets a phone call from Orson Welles (Tom Burke) while recuperating in Victorville, California from a broken leg sustained in a recent car accident. Given complete creative freedom from RKO Pictures for his next project, the upstart Welles recruits an injured Mank to write the screenplay, centering around a wealthy, but morally bankrupt main character who shares more than just passing similarities with newspaper publishing magnate William Randolph Hearst (Charles Dance). 

With Mank dictating the script from bed, his secretary Rita Alexander (Lily Collins) notices this, as well as other parallels to studio executives and people he knew while he and his younger brother, Joseph (Tom Pelphrey) worked at MGM in the 1930's under Louis B. Mayer (Arliss Howard). Flashing back, we see how Mank's friendship with Hearst's lover and beneficiary, actress Marion Davies (Amanda Seyfried) grows, as the writer ingratiates himself and reserved wife Sara (Tuppence Middleton) into the Hollywood elite, entertaining fellow party goers at Hearst's San Simeon estate with his rambunctious personality and outspoken political views. We also see how his alcoholism derailed a successful career, with Welles arriving just in time to offer Mank shot at redemption and a big pay day, if he's still up for it. And doesn't mind forfeiting the credit. 

Those entering this expecting the cold calculation usually associated with Fincher may be surprised to find out that the film's somewhat dark, but not really depressing, moving at a spry, energetic pace that cuts back-and-forth between Mank's latest undertaking and key events in his studio career, most of which are littered with memorable characters and deadpan humor. The familiar device of utilizing screenplay-formatted title cards to indicate the year and location should seem almost too on-the-nose , but it fits exceptionally well here in framing a story about the writer of the most famous non-linear film ever made. 

Considering the feud between Welles and Mankiewicz over credit was historically bitter by even Hollywood standards, this instead mostly focuses on the people and experiences that plant the seeds in Mank to eventually start his greatest creation. In most of his brief appearances, Welles is presented as this deep-voiced, shadowy figure on the other end of the phone, channeling his concerns and demands about the project  through actor-producer John Houseman (Sam Troughton). Because we've had more than enough takes on this side of the Kane fallout before (see 1999's RKO 281 with Liev Schreiber as Welles), this isn't a flaw so much as a choice, and Burke's portrayal of him is sufficient enough given the limited screen time.

The backbone of the film lays in its flashbacks, transporting us into a wild, sepia-tinged world of wealthy, eccentric wheelers and dealers like MGM chief Mayer, who's delightfully played by Arliss Howard as the king of carnival barking studio con-men. He and producer Irving Thalberg (Ferdinand Kingley) tolerate and even like Mank to an extent, until it becomes apparent his best days have passed, and his drunken outbursts threaten the studio's cozy arrangement with Hearst. His eventual script will threaten it more. 

As Hearst, British actor Charles Dance gives the enigmatic publisher the treatment most probably expected would be expected for Welles, conveying a towering but curious presence that in only a few scenes me ets the complicated expectations that drew Mankiewicz and the young, meglomaniacal director to his story, however true or slanderous it ended up being. Mank was 42 when he wrote Kane, and while Oldman is noticeably older, it hardly matters since nearly everyone in this era looked a good fifteen to twenty years past their actual age anyway. Compound that with the fact that Mank was already drowning in the bottle for decades and you could argue the 62 year-old might actually seem too young for the role, especially considering the script's emphasis on him being so far past his prime. 

Anyone who loves that great sub-genre of movies about writers will find a lot to appreciate in Oldman's performance, which severely deviates from the usual trope of introverted writers getting lost inside their own heads. That very well may have been the case if Mank wasn't a self-destructive trainwreck, but he's undeniably the life of the party. And knows it. Two such highfalutin Hearst parties are at the centerpiece of the picture, with the the first memorably deteriorating into a political debate about author and socialist gubernatorial candidate Upton Sinclair (briefly played by Bill Nye the Science Guy). Mank also drunkenly crashes a second one a few years later, leading to an embarrassing display where he basically pitches the Kane story to Hearst's face. 

Self-deprecating enough to be extremely likable, though not entirely oblivious to the damage he leaves in his path, it's hard not to respect the nuance Oldman bring to a real-life figure many know little about aside from his famous writing credit. And some may not even be aware of that since Welles, as director, will always be most closely associated with Kane's success. Keeping Mank in check is his secretary, Lily Collins' Rita, a young woman undeterred by her boss' bluster, or crankiness, steering him on course whether he wants to be or not. Collins leaves a sizable mark, holding together the portion of the film that most centers on his actual writing of the script in between beverages.  

Movie star and Hearst companion Marion Davies is played by an enchanting Amanda Seyfried, who's unquestionably the best thing in this, stealing every scene, nearly all of which are opposite Oldman.  From the moment she appears, Seyfried subverts all expectations of how we'd expect this well known and unfairly maligned celebrity figure to be portrayed. Witty and observant right out of the gate, she plays Davies as a force of nature justifiably tired of being overlooked and underestimated by an "old boys club" that will only ever see her as a ditzy blonde actress. 

Almost instantly on the same wavelength, what's so special and engaging about Mank and Marion's friendship is that it seems real and not put on, breaking that tired cinematic rule that there always has to be romantic strings attached. There are none here and the movie's better for it, regardless of what did or didn't happen in reality. With her expressive eyes and unmistakable facial features Seyfried really looks and talks this part of a classic old Hollywood starlet, nailing a certain rapid-fire style of speech and mannerism that seems pulled out right out of the 30's or 40's. She also gets off one of the film's best lines when trying to convince Mank not to go ahead with a project so obviously taking jabs at her relationship with Hearst. The reasoning behind the objection isn't what you'd think, but perfectly in line with the fair, pragmatic outlook this character demonstrates throughout. 

While it wouldn't exactly be fair to classify this as geared entirely at a niche audience, an argument can be made that Mank isn't the kind of picture that would be considered a huge thrill ride by most, even as some of the best efforts often aren't. But despite the irony of its protagonist having actually won an Academy Award, it definitely isn't calculated enough to be criticized as Oscar bait, mainly because Fincher's incapable of pandering to anyone. For fans of this period and setting there's a lot to revel in with the story of this man's professional and emotional downfall racing by at a almost a breakneck pace, before he's afforded a kind of redemption that ultimately comes too late for him.  

Mankiewicz's standing as a forgotten figure of cinematic history has only increased since this project was first supposed to go in front of the camera for Fincher in the late '90's so its release now feels especially fortuitous. And while any film set in Hollywood during this time would have to address the political backdrop, it holds more relevance now than it otherwise would, made all the more potent by discovering how little has changed beyond the nastiness of the discourse. 

Perceptions have also evolved about the contemporary utilization of black and white photography, as it's been justifiably re-embraced since skepticism surrounded silent throwback The Artist's Best Picture win a decade ago. Those suspecting potential gimmickry should know this looks great and represents one of the better uses of this format, reserved for a story where it feels more like a requirement than a creative choice on Fincher's part. So not only could the timing not be any better for Mank, the movie world seems to have caught up, proving it to be more than worth the wait. 

Ozark (Season 3)

Creators: Bill Dubuque and Mark Williams
Starring: Jason Bateman, Laura Linney, Sofia Hublitz, Skylar Gaetner, Julia Garner, Charlie Tahan, Lisa Emery, Janet McTeer, Felix Solis
Original Airdate: 2020

★★★★ (out of ★★★★)


When the first season of Netflix's crime drama Ozark premiered in 2017 to strong reviews and even stronger viewership, few could have guessed it would eventually emerge as the streaming network's most reliable and tightly written series. Much like Breaking Bad, to which its been endlessly compared, it's the rare show that's gotten better as it's steamrolled along, culminating now in a third season that's easily its best. But in hindsight, maybe we should have known. It was always great, moving at a breakneck pace while still managing slowly develop its characters and dropping narrative bread crumbs that result in major, but logical payoffs. The show knows what it is and makes sense, with performances heightening the suspense and impact of an already exhilarating story.

All of those Breaking Bad comparisons seemed lazy at first, based solely on the series' premise of a regular guy and his family being dragged into the drug business. But now that reference seems truly earned, based not on the show's plotline, but its escalating quality. Season 3 is simply a thrill ride and as good as ten episodes of a drama you're likely to see, putting its central characters married characters at war with not only the dangerous outside forces controlling their lives, but each other. In way over their heads, but with wildly different ideas about how to manage, the crisis has become a mirror reflection of their contrasting personalities and histories, ripping their relationship apart in the process.

Fluctuating between clumsy incompetence and Machiavellian genius, The Byrdes have sucked so many people into their vortex, things were bound to blow up. And yet, the show remains at its core about the quest to keep their family safe, even as their actions seem to result in the exact opposite. When launching this new business, everything becomes about facades and keeping up appearances,
 but the arrival of an exciting new character throws a wrench in the power dynamic, providing the ten episodes with almost unbearable levels of tension. It's also one of the best acting performances of the year, as this previously unknown actor takes us to hell and back with one of the saddest and scariest recent on screen depictions of mental illness in any medium. You may as well just hand him the Emmy right now.

After opening and managing the new Missouri Belle casino as a means of laundering money for the Navarro Mexican drug cartel, Marty (Jason Bateman) and Wendy (Laura Linney) Byrde find themselves at a crossroads, with him wanting the family out of this terrible situation that followed him from Chicago, and her doubling down, more determined than ever to make this business work. Suddenly she's in the driver's seat, getting another taste of the power and ambition she once had early in her political career, impressing icy cartel lawyer Helen Pierce (Janet McTeer) and her boss, the terrifying Omar Navarro (Felix Solis), to whom Wendy now has a direct line.

While fighting over how best to keep their teen kids Charlotte (Sofia Hublitz) and Jonah (Skylar Gaetner) safe now that they know everything, the Byrdes have entrusted the fiery, foul-mouthed Ruth Langmore (Julia Garner) to manage the casino's day-to-day operations. But her frequent clashes with Kansas City mob boss Frank Cosgrove's (John Bedford Lloyd) son, Frank Jr. (Joseph Sikora), as well as her lingering resentment toward the Byrdes over her father's murder, make her a potential liability.

Still lurking in the wings is local drug runner Darlene Snell (Lisa Emery), who not only owns a piece of the casino, but still has custody of Baby Zeke, and intends on making the Byrdes pay for destroying her town. While she's now corrupted Ruth's estranged cousin Wyatt (Charlie Tahan) into helping her, Wendy's black sheep brother, Ben Davis (Tom Pelphrey), comes to town looking for a place to crash, revealing himself as a ticking time bomb unintentionally playing fast and loose their lives. As Marty entertains a new offer from the FBI and Wendy grows closer with the ever-present Helen, it looks like it'll take more than a few hours with their new marriage therapist to solve the Byrde's many problems.

Rarely do you see as many complications stack up over the course of a full season while having them still all pay off this thrillingly by the end. Co-creators Bill Dubuque and Mark Williams just keep piling it on, with everything always circling around the Byrdes, as lawyer Helen has now increased her stranglehold over the couple, now actually buying a house in the area and dragging along her rebellious teen daughter, Erin (Madison Thompson), with whom she has a fractured relationship.

We're given a lot more insight into the cold, calculating Helen's personal life, as Janet McTeer brings some more fascinating shades to Helen, strategically offering glimpses into what could almost be described as genuine human emotion from as the high-waisted pantsuit wearing operative. Of course, she and the writers are so smart in how they subtly walk up to that edge, before pulling back to remind us that whatever no matter what's happening with her ex-husband or daughter, she's all business and won't hesitate disposing of anyone if necessary.

Helen and Navarro are starting to see the floundering, stressed-out Marty as expendable, especially since he's doing everything he can to sabatoge Wendy's planned casino expansion, even wiretapping her. He just wants out, and it's hard to blame him, as he's being pulled in every direction from Helen, Navarro, the KC mob, Ruth, the FBI, his own power-hungry wife, and even at one humorous point, REO Speedwagon. It would be nice to just pack up and leave as he planned at the end of last season, but it's clear that's no longer a possibility, and for the first time since the pilot, Marty faces immenent physical harm, if not possible death at the hands of a displeased and highly volatile Navarro. Bateman is so good at playing Marty when he's lying, completely straight-faced in his deception and denials, all for the sake of keeping him and his family alive long enough to come up with a new plan. The actor does some of his best work of the series thus far, as a hopeless Marty suffers locked up in solitude in Navarro's Mexican prison, with childhood memories of playing arcade games the only thing keeping him going.

Marty from emerges from his torture test transformed, adopting a new philosophy while Wendy further crystalizes her role as the mover and shaker. Her reasoning that she's digging her heels deeper into the cartel to protect this family have been wearing thin since emerging as the Heisenberg of the series, clearly getting legitimate thrills from being in the power position as Helen and Navarro's chosen one.

The drama has trickled down to the rest of the family as Charlotte and Jonah seem more aware than ever of their parents dangerous dealings, with the former now working for her mom and the latter withdrawing further into himself after reeling from losing his only friend, Buddy, last season. But all their lives are about to be seriously shaken up by the arrival of the most pivotal character, Wendy's estranged younger brother Ben, whom we initially meet in a sensational school-set scene. And even without a clue as to his identity at the time, we can tell he'll be making a huge impact. 

Ben re-enters his older sister's life carrying a considerable amount of baggage, but it's only a matter of time before he's clued in to what's going on. The more he knows, the more he'll want to be involved. And that means trouble. But what's so masterful about Tom Pelphrey's electrifying performance is its sincerity, imbuing Ben with such an honest, moral compass that he almost comes across as childlike in his innocence, wondering why people just can't do what they say and say what they mean. Hyper-sensitive and just to a fault, he's just not built for a world filled with toxic criminality.

While the root of Ben's issues stem from a bi-polar disorder he's battled his whole life and his behavior becomes increasingly monstruous off his meds, there's hardly a moment where we doubt his intentions aren't pure or that he's right. He only wants to protect this family without realizing the best form of that he can provide is to either leave town asap or get back on his meds. And the more erratic and dangerous he is off them, the tougher everything becomes for Wendy, having to choose between his safety and that of her kids and husband. And that's a battle Ben could never win. So he has to be handled instead. The suspense in the final three episodes of the season the tension reaches a boiling point largely because his problems can really only be resolved one way if he continues down this road. And time's running out for all of them.

Despite Wendy's warnings to her, Ruth's relationship with Ben grows, with her emerging as the only person who seems to believe in him, to both their detriments. The decision Wendy feels she's forced to make regarding her mentally disinegrating brother is heartbreaking, with the scenes Linney shares Pelphrey in the penultimate episode representing a series-high on every conceivable level. Even as she senses an increasingly infantile Ben has gone completely off the deep end, there's this apologetic sadness in Pelphrey's eyes and voice that reflect an awareness of what he's done and how badly he's screwed up, all while remaining powerless to stop it. It's really some performance, especially considering he wasn't even a series mainstay until this season.

It all eventually comes down to loyalty. On shaky ground with their slip-ups, the only thing Wendy and Marty seem to agree on is that they need to make a big move to survive. The whole season sets up this power struggle with Helen over Navarro's allegiance that culminates in a truly shocking final moment, and one that  lays the table for a new beginning. The Byrdes may have temporarily gotten what they need, but as usual, the cost hardly seems worth the sacrifice, especially when it's difficult imagining a future where they're ever free from the shackles of the cartel.  For the time being, they've made their bed and have to lay in it, as the show teases the frightening possibility that the worst is yet to come.