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The Holdovers (2023)
The Holdovers (2023)
2023 | Comedy, Drama
9
9.3 (3 Ratings)
Movie Rating
Emotional Rich...and Real
The last time Paul Giamatti starred in an Alexander Payne film (2004’s SIDEWAYS), Payne won the Oscar for Best Adapted Screenplay.

Reunited for THE HOLDOVERS, it might be time for Giamatti to win the Oscar.

THE HOLDOVERS tells a well-worn story of a cranky older guy, all-Male Prep School teacher Paul Hunham (Giamatti) who is forced to spend the Christmas holidays sometime in the early 1970’s with arrogant, intelligent, student, Angus Tully (Dominic Sessa). Will they learn to tolerate - and then respect - each other by the time school is back in session? Of course they are.

But it is the journey and not the destination that this film is about - and, boy, what a journey.

Director Payne (working off a screenplay by David Hemingson - WHISKEY CAVALIER) infuses his usual human style into the HOLDOVERS focusing on the characters and driving strong, emotional performances. Sometimes this works (SIDEWAYS, NEBRASKA), sometimes it doesn’t (DOWNSIZING) but in a Payne film it all depends on the strength of the script - and performances - in the film.

Payne was wise to turn over the central character of Paul “Walleye” Hunham to Giamatti who rides the line of curmudgeonly without becoming evil. From the start you can see some sort of humanity under the cranky surface of Paul and when the facade starts to fade away you see a real human being under there. It is, perhaps, the finest performance of Giamatti’s career and expect to see Giamatti’s name called come Oscar Nomination time.

Of course, Giamatti’s performance is only as good as the other actors that he is working against and in newcomer Sessa, Payne has given Giamatti a very good counterpoint indeed - especially since this is Sessa’s Major Motion Picture screen debut. He imbues Tulley with the requisite youthful arrogance but you can sense the vulnerability underneath from a young man who just wants to be accepted - and loved - for who he is.

A joyful surprise of this film is the work of Da’Vine Joy Randolph (ONLY MURDERS IN THE BUILDING) as the cafeteria worker (with a secret tragedy of her own) who volunteers to stay behind to cook for these two. She provides a welcome 3rd leg to this stool and counterbalances both Giamatti’s and Sessa’s performance in a strong - and real - way.

All of this, of course, is due to the fine direction of Payne and the smart, funny and emotionally rich script by Hemingson. They wisely set this piece in the early 1970’s - so there are no cell phones or Internet to draw these people away from each other. They are trapped with one another and must deal with each other in an emotionally satisfying manner.

One of the best films of 2023 (expect to see it in my Top 5 of the year), THE HOLDOVERS is the type of film that the Academy loves - so expect more than 1 Oscar nomination and, just maybe, an Oscar win for Giamatti.

All would be well deserved.

Letter Grade: A

9 Stars (out of 10) and you can take that to the Bank(ofMarquis)
  
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Dave Eggers recommended The Landlord (1970) in Movies (curated)

 
The Landlord (1970)
The Landlord (1970)
1970 | Comedy, Romance
(0 Ratings)
Movie Favorite

"[Anything in Ashby’s] body of work is always recognizably him, but it’s pretty elastic. Like Being There is very different than Shampoo in a lot of ways. There’s a little bit of the surreal that can enter in, but at the same time, they’re very grounded and very of their time, and have a certain gritty feel to them. They’re not so clean. There’s a naturalism there that he marries with some very bold moves and even magical realism. [The Landlord] is this movie that not too many people have seen, didn’t have a big release originally, and it’s hard to find on DVD, and doesn’t have the reputation of Harold and Maude and Coming Home. But I kind of think it might be his best movie. Maybe it’s just because it’s so screamingly brave in a lot of ways, and it hits so many issues. There’s so few American movies that touch on class, and this just comes straight at you like a train, talking about class issues, race. [It’s about] this young man who’s born into privilege, struggling with his place. “He is to the manor born,” you know? He has money in his blood, and he can afford to go buy a building where people are living. Just a young man, Beau Bridges, and it’s probably my favorite thing I’ve ever seen Beau Bridges do, too. It’s sort of startling to see him in this role as the golden boy, and you can almost see Jeff Bridges playing it, too. And the fact that this white guy, automatically, just by the color of his skin and the place he was born and the family he was born into, has the ability to be responsible for the lives of all of these far less fortunate or privileged people. [He struggles] with that sense of responsibility and [tries] to reject it and give up that control, but [also] do right by these people. I don’t know, it’s so complex. But [Ashby’s] not afraid to have some very broad comic moments. You know, there’s a few people who can do it since. Like Alexander Payne or David O. Russell, a few other people whose work you can see owe a lot to Ashby."

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