Gary Oldman delivers another striking and forceful performance as David Fincher uses his distinctive and believable depiction of the nearly rebellious Herman J. Mankiewicz to guide us through Hollywood during the 1930s. The story unfolds via flashbacks, with Oldman’s character, confined to a bed, writing "Citizen Kane," and we witness much of the politics, prejudice, sexism, and quite obvious dishonesty that existed among those at the top of the studio system, as voiced by individuals like Louis B. Meyer (Arliss Howard), Irving Thalberg (Ferdinand Kingsley), and especially WR Hearst (Charles Dance). The black-and-white cinematography contributes significantly to the film’s visual richness, and Jack Fincher gave the lead actor some beautifully written speeches—often cleverly verbose—particularly later on as his struggle with alcohol becomes increasingly difficult and his friends begin to change how they relate to him. I didn't find the other actors quite as compelling; Dance seemed styled like a circus performer for much of the movie, and Amanda Seyfried and Lily Collins had difficulty making their characters memorable, despite the importance of their roles in Mankiewicz’s and Hearst’s lives. This is a thoughtful film—it doesn't focus on the sensational aspects of the events; it appears determined to avoid getting involved with any of the accompanying notoriety from that time, which I found rather strange. It takes away some of the vitality from the underlying political maneuvering and power dynamics that created the atmosphere Mankiewicz so disliked—even despised. I watched it in a theater shortly before Netflix released it, and overall, I believe watching it at home is sufficient. It’s enjoyable, but not exceptional.

Source on TMDB