It has been six years since Alexander Payne directed his last film, “Downsizing,” so the release of his new movie, “The Holdovers,” is something of an event. Payne reunites with Paul Giamatti, the star of “Sideways,” and once again their collaboration sparks, resulting in an engaging and often touching comic drama.
Set during Christmas of 1970, “The Holdovers” takes place at a hidebound New England prep school. Paul Giamatti plays Paul Hunham, a curmudgeonly classics instructor who is assigned the task of looking after the boys who are unable to return home for the holidays. Despite the initial disdain between him and the boys, they settle in for what promises to be a dyspeptic Christmas season.
The story takes a turn when one of the rich kid’s fathers intervenes and most of the holdover boys are evacuated. Only one boy, Angus Tully (played by newcomer Dominic Sessa), remains as his mother and stepfather are unreachable. Forced to co-exist with Hunham and the school cook, played by Da‘Vine Joy Randolph, Tully finds solace in her positive attitude and sensible guidance.
From then on, Hunham and Tully embark on a series of misadventures that bring them closer together. They experience an injury, attend a Christmas party, and have a grim Christmas dinner in the school cafeteria. They also take a surprise getaway to Boston, where they both have traumatic encounters that deepen their bond. Ultimately, they discover secrets about each other that prove to be both traumatic and therapeutic.
The film starts off with raucously funny and sometimes repetitive scenes, but it gains momentum in its final third. The possibility of people changing and learning from each other is portrayed forcefully and leads to a bittersweet but emotionally impactful conclusion.
The performances in “The Holdovers” are top-notch. Paul Giamatti shines on the big screen with his portrayal of the cranky academic, infusing the role with bilious wit and vulnerability. Dominic Sessa, a gifted newcomer, showcases the arrogance and belligerence of his character while revealing the gifted young man beneath the swagger. Da‘Vine Joy Randolph delivers a powerful performance, capturing the toughness and sadness of her character.
Visually, “The Holdovers” is a beautifully crafted film, with elegant cinematography that captures the wintry landscapes and musty institutions of the prep school. The film’s technical credits, including cinematography by Eigil Bryld and production design by Ryan Warren Smith, bring the time and place vividly to life. The use of Christmas classics on the soundtrack may be a bit excessive, but it is the only flaw in an otherwise well-executed film.
Overall, “The Holdovers” is a captivating and affecting film that showcases Alexander Payne’s talent for balancing comedy and drama. The performances are exceptional, the storytelling is engaging, and the emotional impact is subtly delivered. While it may have some flaws and could benefit from tighter editing, the film’s conclusion leaves a lasting impression. “The Holdovers” is a worthwhile addition to Alexander Payne’s filmography.
