The Holdovers

The Holdovers managed to creep up on people when it was release during the middle of 2023. Seen as a throwback film that appealed to movie lovers and award darlings, this dramatic comedy with a Christmas sensibility looked like a solid enough time from the advertisements, which gave off the impression it would be trying to emulate several coming-of-age period college films with a sentimental heart along the lines of something like Dead Poet’s Society. The response from critics was very positive, with many claiming it to be one of the best films of the year and was nominated for some of the big categories at the year’s Academy Awards. Whether it drew people in through its retro vibes or simplistic quaint presentation, its execution, personality and heart seemed to win most people over. In 1970 within the halls of Barton Academy, a New England boarding school, Professor Paul Hunham (played by Paul Giamatti) is a crotchety old man whose rigid and hyper traditionalist manner of teaching results in him being disliked by most of the students or even the faculty, with this being the reason he is chosen to be the supervisor for the children who are staying behind during Christmas break. With most leaving for the holidays except for a one Angus Tully (played by Dominic Sessa), who was forced to remain at school due to his mother cancelling plans, Paul prepares for an annoying holiday season due to his dislike of Tully and social interactions in general. Joined by Mary Lamb (played by Da’Vine Joy Randolph), the school’s lunch lady who is grieving the loss of her son who recently died in the Vietnam war, these three lost souls are forced to spend the Christmas season together in a place and time where everyone else seems to have gladly left them behind in, and in doing so, are able to form a unique family bond that allows them to bring up their past regrets and fearful futures. What started as a situation that felt like a punishment may have turned into a solitary week that each of these three people desperately needed. The Holdovers may not be a film that stretches the boundaries of its genre or even its premise, but it delivers a picture that houses solid production, effective writing and directing, and three stellar leading performances that give the film such strong heart.

A lot of this film was based around several experiences that the film’s screenwriter, David Hemingson, encountered while growing up, with the component of a stumbling semi-familial bond being formed during an imperfect but still growth-worthy moment in time, feeling like a personal element that injects freshness into a narrative that by all accounts, could be very predictable and cinematically orchestrated. Since the film is clearly trying to emulate a past style of filmmaking from the way that it looks, sounds, and is even paced and acted, you’d expect the movie to come across as overly sentimental and in-your-face about this quality, like it was doing this solely for attention and the notion of being praised for mirroring said style and genre, especially because both have been extremely popular within the award space throughout the years. Thankfully, the film is actually quite chill about itself and goes about telling its story in a very relaxed and not showy manner. It has a slow pace, the visuals and retro tricks aren’t overblown or feel like they’re showing off, the actors feel old-fashioned in a way that feels intentional but not to the point that it distracts from their performances, the dialogue is effectively timeless but has a spark and bite to it that adds a sense of authentic flavor, and despite the comedic tone present throughout which could dampen the more dramatic qualities, it is more quaintly rumbustious than anything, and that tone works quite well against the more sombre scenes. The script by Hemingson is actually pretty good (especially considering it was his first film script as he previously worked in television), providing enough detail and charm for the characters to work with so that they don’t just feel like cinematic constructs meant to forcibly drain sympathy, and paces this pretty straightforward story out in a fashion that while mostly predictable, feels perfectly fitting with the vibe and presentation being delivered. Since it is so laid-back, personal and low-key in its stakes and drama, it’s a little hard to predict where it’s going, and the film feels pretty realistic through the conflicts being addressed like grief, depression, self-worth and isolation, all of which aren’t sugar-coated and are presented in a brutally honest fashion. The directing by Alexander Payne is also fairly well done, allowing the film to balance between being light and dark at the right moments to never break the mood, but also making sure it never falls too much into either category. It’s a movie that honestly doesn’t have many issues with how it tells its story, but with that said, it is a story that won’t break any new ground or reveal any new form of perspective on this familiar outline. It’s relatively basic in its ideas and characters, so there is a safeness attached, which does allow for this sense of light comfort and nostalgic homeliness, but it doesn’t feel like it’s going to really wow someone unless they are get into these specific kinds of stories

The most attention the film got was for the performances of Paul Giamatti, Da’Vine Joy Randolph, and Dominic Sessa. With Sessa just starting off his career, Randolph slowly forming a career, and Giamatti being an established name at this point, this trifecta are on very different playing fields in terms of public awareness, so you’d imagine their acting would feel different from one another, but all three of them feel like performing equals all throughout and do a really great job holding this film together. While most of the supporting cast are fairly good as well, with people like Carrie Preston, Andrew Garman, Naheem Garcia, Stehen Thorne, Gillian Vigman, Brady Hapner, Ian Dolley, and Michael Provost doing a nice job matching the vibe of the story and standing out in spite of limited screen time, the leads are easily the strongest element of the film, and house some very solid chemistry that shines really strongly in the comedic and especially the dramatic moments. One of the downsides to the previously mentioned familiarity of the script and story is that it also rings true for some of the acting, as both Giamatti and Randolph are playing roles that feel very reminiscent to other performances they have given in the past (Giamatti and Payne worked together previously on the equally well-received Oscar nominated 2004 comedy, Sideways, so they are familiar with each other). Their characters are likeably flawed, and you do see them overcome some of their baggage and bond in a nice and believable way, but they are also roles that are really only defined by their one issue, so the real grab is going to be how they portray these roles rather than being surprised by what these characters go through. With that said, both still work really well in these parts and showcase their great talents (Randolph even secured a win for Best Supporting Actress at the Oscar). Dominic Sessa (due to this being his first acting role) isn’t saddled with previous experiences building an acting persona, and therefore stands out as one of the more fascinating actors to watch in this, as seeing him portray this kid who could very easily come off as annoying and too whiny with just enough relatability and sympathy to not be completely one note, is pretty engaging and shows promise for a bright career later down the line.

The aesthetics of the film are attempting to be authentic to not only a 1970s New England, but also a 1970s film. From the opening few seconds where it showcases a classic rendition of the Universal logo and presents some devolved versions for Miramax and Focus Features, it wants to prove to the audience it can portray this time period and style, and for the most part, it actually manages to do so. While the first few scenes may seem a little off due to certain camera tricks and music choices not feeling in line with how movies of the era were portrayed, the remainder of the film evens things out and most of the technical aspects, along with the scripting and acting decisions, genuinely feels like a movie made in the 1970s. Whether it’s through the hazy visual filter on the camera (even though it isn’t filmed on physical media), the snarky, cold and even swear-heavy manner in which most of the people talk, the muted audio quality that comes across as delightfully muffled in certain moments, to even some of the cinematography by Eigil Bryld, which can be appropriately still or appropriately mobile when it’s appropriate, it picks up on all these little components that might not seem like a lot, but do give a film character. It feels so natural that it becomes a background detail as it keeps going, but that is a positive in this situation. Instead of just being a gimmick for the film to exploit, it allows the chance to pay tribute without coasting on its popularity. The music by Mark Orton can be a little underwhelming and even unnoticeable due to how much of the film is populated with a soundtrack of classic Christmas songs, but when the music is heard, it’s at least not bad. The film does feel pretty Christmas-y, using both the tragedies and blessing of life in a way that highlights the season’s spirit of togetherness, sharing and goodwill. That mixed with the constantly falling snow and the warm mahogany tones of the Academy helps make it a Christmas film in a way that isn’t overt, but stills get the point across.

The Holdovers is a movie that feels like a favorite amongst cinephiles and those who are into more traditionally lauded movies with an old-fashioned vibe, but unlike other examples that are clearly Oscar-baity and are incredibly pretentious and manipulative with their portrayals (looking at you, Dead Poet’s Society), this film’s more casual, personable and legitimately likeable atmosphere results in it being one that everyone should at least check out. It’s not grand enough to be that incredible for those who want something a bit more, but the acting, visuals, direction and screenplay are all very well executed and make this simple experience so much more meaningful than it easily could’ve been. It’ll be up to the person as to whether or not this isolated holiday celebration is worth sticking around for.