Alexander Payne has a lot to prove. It's been ten years since he last released a film any fans of his would be willing to acknowledge; following the catastrophic misfire of 2017's Downsizing, a film far too ambitious for its own good, audiences have clung to the memory of the likes of Nebraska, Sideways and The Descendants, hoping he would eventually return to those home-grown roots again. Payne's latest effort, The Holdovers, not only achieves such a feat, but goes one step further, delivering not only the best film of his career to date, but one of the year's absolute best, too.
When a curmudgeonly New England professor is forced to remain on campus over the holidays to look after the students left behind, he finds himself clashing with - and later forming an unexpected bond with - one in particular, a brainy but damaged troublemaker. Alongside the head cook, who grieves the loss of her son during the Vietnam War, the unlikely trio learn to empathise and understand each other under difficult circumstances. Paul Giamatti, Dominic Sessa and Da'Vine Joy Randolph star.
From the film's very first reel, The Holdovers' announces itself as the annual "they just don't make them like they used to" picture. Nostalgic in every positive sense of the word, Payne's latest is a treasure that seamlessly transports us to the 70s era of filmmaking and welcomes you in with a picture made with so much heart and humour. Utilising materials from the 70s with techniques that formed the basis of filmmaking during the era, the film’s beautifully achieved grainy image and wonderfully curated atmosphere, enriched by the soundtrack, production design and editing in particular, feels so inviting, instantly offering audiences a new comfort watch perfect for this time of year.
With Payne firmly establishing the film’s style, it’s a relief that the substance is equally as strong, with the screenplay from David Hemingson balancing the humour and heart with such confidence. Laugh-out-loud funny, The Holdovers is riddled with caustic one-liners and slapstick set pieces that bring a crowd-pleasing quality to the feature, which operate in perfect calibration with the often dark thematic ground the film covers. As we explore these three characters, their individual sadness and the complexity of human relationships, we do so in such a nuanced and intelligent way that we cannot help but admire the sophistication with which it imparts its message. In a genre where tropes and stereotypes can so easily sketch characters, that The Holdovers’ script so willingly builds its characters with careful thought and attention means it instantly rises to the top of the genre’s food chain
Paul Giamatti's lead performance is an acting masterclass, a truly exceptional star turn and he’s never been better. While downright hilarious when handling the laughs, a clear master in line delivery and tone, his performance is tinged with a feeling of sorrow that swells into the film’s second half, where a more melancholic and bittersweet nature rears itself as we come to understand his character more. Mean-spirited and linguistically barbed, Professor Hunham is not a character you would find yourself wanting to get close to, and Giamatti understands that, holding us at arm’s length - but his subtle approach to inviting the audience closer while never truly being comfortable enough in his own skin is a marvel to behold, representative of an actor who understands his character on a microscopic level.
Dominic Sessa’s role is a challenging one, if only for how easily it could fall into stereotype: the naughty but troubled is a trope that could present the most basic of performances, but Sessa imbues his turn with an intricacy that portrays a far more dimensional and interesting character. It always feels like you’re one step behind Angus and that we are constantly scrambling to keep up with him - reflective of both the character’s intelligence, and his need to outmanoeuvre given his life experiences. Sessa delivers a brilliant performance rendered with a complexity even more impressive given that this is his first major screen role and we can only hope this is the start of what could be a dazzling career.
Da'Vine Joy Randolph, with perhaps the least dimensional of the three characters, is as wonderful as Mary Lamb. A woman reeling from the loss of her son, the layers she brings to the character is remarkable - there is, of course, a sadness to her, but the anger, regret and blame which accompany that portrayal is what makes her such a compelling and multi-faceted character. She exudes warmth, despite her devastation, that you cannot help but gravitate towards, even as she yearns for a space of her own space to properly grieve. Particularly in the quieter moments, including one scene where she unpacks baby clothing, Randolph absolutely shines, the relative silence of the sequence capturing her grief at its most gut-wrenchingly authentic.
The Holdover's superb, finely-tuned acting trio, the impeccably sharp original script and Payne's beautiful textured direction result in a film so rich in emotion and brimming with a soulful authenticity that will catapult it into the hearts of many. If anyone tries to tell you that "they don't make them like they used to", suggest to them The Holdovers - I can’t imagine a soul out there who wouldn’t be moved by this tender, humble and hilarious feature.