The Holdovers

Feel good, yet feel sad. Alexander Payne delivers one of the best films of the year, and he only needed relatively little to do so: a sensitively written script and some good actors. Ordinary, yet beautiful. I like big, unique and original concepts in movies, but sometimes "a little" is more than "a lot". This conniving little man ambushed me and managed to win me over. (23.12.2023)

And the prize for the year's best acting trio goes to ... the chef, Paul Giamatti and his student. Alexander Payne is unique. He always picks a serious subject and wraps it in subtle and sometimes biting humor, and throws in an interesting point on top. The main thing here is how it is possible to humanise a grumpy and strict professor into an understanding and sensitive being without smacking of some cheap scriptwriting crutch. Giamatti absolutely shines in his role, reminiscent of Payne's best film to date, Sideways. There, Giamatti lived only for wine and everything related to it and women were rather on the fringes of his interests, here he lives only for his ancient Greece, for ancient history and women are again on the sidelines for him. Thanks his skill as an actor and his physiognomy, no one would be more suited to the role than the slightly chubby Paul – an Oscar nomination probably won't jingle from this, but it certainly should. And it's not just Paul, but the captain is back in full force after the botched Downsizing, proving why he's a star of independent filmmaking. Payne gently slides between the slightly depressing moods and the feel-good ones, and even though it ends the way it does, you get an awfully good feeling from it all. (01.01.2024)

I was curious about this praised drama, what makes it so special that everybody admires it and it's not bad. I won’t get any hate from me, but at the same time I don't find much reason to be happy. It's just too ordinary for my taste, the premise was definitely not thought up by 10 heads over half a year, and for a film that can only rely on the story and the actors, I was expecting something more interesting. At least in terms of humour and emotions it's quite bland. When I compare it to films like Whiplash or Green Book, it's a different cup of tea. Paul Giamatti rather annoyed me with his squinting eye, but Dominic Sessa was fine. I would have enjoyed it more if it was set in a school with students. It was okay for one viewing, but I definitely won't go back to it again. 6/10. (09.04.2024)

Alexander Payne knows how to make dramas that are humanly warm one moment and uncomfortably acerbic a few moments later. Few filmmakers are as good at it as him, and I'm glad he reminded us of that with The Holdovers. Paul Giamatti is excellent, as are his two less famous colleagues, both of whom we hope to hear from in the future. There's some excellent work with the gradual reveal of the characters and the fact that everyone carries their past, trauma and insecurities within them and it takes a lot of work to start talking about them or even confronting them. I definitely appreciate that Payne doesn't push the envelope in this regard and is rather restrained in working with emotions, not trying to make the characters laugh, move or bare their innermost selves at all costs. He just follows the three lost souls left to fend for themselves at Christmas. The seventies feel (not just the setting) is beautiful too, and overall it's very nice to watch. Whether you take it as a bittersweet pice or a gritty drama about how everyone just has to deal with certain things on their own, it's still not a bad thing to have someone by your side. (21.02.2024)

For the most part, this is a classic and an accessible human spectacle about individuals who were lost for a long time until they found themselves. And yet I can see a difference compared to other examples from the genre in its greater emphasis on the sad undertone, which is less about making me laugh and more about moving me and making me think more about how their lives could possibly go on so optimistically when there is so much longing and melancholy in them at the same time. David Hemingson's script, however, could have used a little trimming, even half an hour's worth. There were a bit too many disagreements and subsequent "agreements" between the professor and the student, each of them ending as expected. The pastel-smooth visual side and the great main trio convincingly cover up more than one imperfection. (16.02.2024)