After his last movie, the satirical Downsizing, was unfairly maligned by critics, fans are hoping that Alexander Payne has returned to form with the dramedy The Holdovers. That is very much the case, and while the film is slightly dragged down by its script (which Payne did not write himself), Payne’s directorial hand is as deft as ever.
The Holdovers follows a teacher at a boarding school as he is assigned to be the custodian of the students who are not able to travel home to visit their families over the holiday season, as he forms an unlikely bond with the school’s chef and one of its students. It’s interesting to see a holiday-centric movie that doesn’t explore the traditional family unit, as it opens the door for a completely different set of emotions.
There are some moments in the film that are absolutely soul-crushing, and others that are lovely and heartwarming, and Payne directs them both to perfection. It’s always clear where The Holdovers is going, and yet it still manages to get a laugh or a tear at the right times because Payne knows how to shoot these scenes in a way that is thoroughly humanistic.
The Holdovers has great moments but too much fluff
However, it is in the periods between these big moments that The Holdovers struggle, as the connective tissue often grinds the pacing to a halt. Writer David Hemingson is clearly attempting to give the movie a feeling of reality by allowing the drama time to breathe, but it’s not all that interesting in the less heightened moments. For someone whose experience prior to this is in television, it’s surprising that Hemingson’s first feature script feels so incredibly bloated.
Indeed, The Holdovers clearly feels like a first-time feature writer’s script that made its way into the hands of a talented director. Payne makes the most of the uneven material with a warm and inviting aesthetic that feels reminiscent of a worn out VHS tape. It’s a little musty, but nostalgic in all the right ways.
Also Read: Dicks: The Musical TIFF Review: Exaggerated Musical Comedy Has High Highs, Low Lows
The Holdovers also works extremely well on an acting level. Payne knows how to get the most vulnerable emotion out of Giamatti, as was evidenced in their previously fruitful collaboration in Sideways. On the surface, it seems like Giamatti is doing his over-the-top, shouting schtick here. But as the film goes on, the layers of emotion reveal themselves and Giamatti’s performance becomes incredibly nuanced.
However, even though the movie is clearly designed as a showcase for its leading man, it is the supporting cast who shines even brighter. Da’Vine Joy Randolph is simply exceptional here. Although her more comedic roles in the past have been very funny, and she gets a few laugh-inducing moments here, she really shines in the more emotional sequences, where she brings an endearingly quiet sadness to the character. First-timer Dominic Sessa is also fantastic, holding his own against the more seasoned Giamatti.
The Holdovers is a strong film thanks to Alexander Payne’s subtle direction and a trio of fantastic performances from Paul Giamatti, Da’Vine Joy Randolph, and Dominic Sessa. Although the script drags in several moments and could have spared to have some of its fat trimmed off, Payne still manages to direct the heck out of this dramedy in a way that will win audiences over.
The Holdovers screened at the 2023 Toronto International Film Festival, which ran September 7-17 in Toronto, Canada.
Also Read: Next Goal Wins TIFF Review: Taika Waititi’s Weakest Movie Yet Is a Conventional Crowd-Pleaser
Follow us for more entertainment coverage on Facebook, Twitter, Instagram, and YouTube.
Rating: 7/10
Also Read: Dumb Money TIFF Review: GameStop Stock Movie Does Not Go to the Moon
