There is something special about the unique sense of comfort spurred by the holiday season. Whether or not you take part in winter holiday festivities, the snug feelings of joy that spread during this time of year are infectious. The Holdovers (2023) captures this feeling in a bottle. It’s the type of film that makes viewers smile within the first few minutes and, impressively, never lets that smile waver.

Director Alexander Payne returns after a six-year hiatus following Downsizing (2017), an incredibly divisive entry in his filmography that many regard as the singular dark spot of his stellar career. The Holdovers sees Payne go back to exactly what he excels at – intimate character dramas with rapturous bits of comedy. In his new film, Payne reteams with Paul Giamatti, who starred in one of the filmmaker’s best, Sideways (2004). 

When Christmas break arrives at Barton Academy in 1970, bitter history teacher Paul Hunham (Giamatti) is tasked with the job that every teacher at the boy’s prep school would sell their soul to avoid: staying on campus to monitor the holdover students. These students have nowhere to go during the holidays. They’re the ones who – for one reason or another – are left behind by their families. 

Once Angus Tully (Dominic Sessa) unexpectedly learns that he is a holdover and has to spend two weeks with a teacher that he despises, he and Paul are forced to try to make the best out of a bad situation. They aren’t alone in their extended stay at the academy, though. Mary (Da’Vine Joy Randolph), the school’s sassy head cook, is also staying behind to grieve her son, who recently died in the Vietnam War.

It can’t be understated how terrific each of these three performers are. Their work is awe-inspiring, and they are gifted with powerful emotional moments that allow them to put their natural talents on display. This movie succeeds first and foremost because of these amazing performances and how well the trio works on screen together.

Randolph, in particular, is exceptionally tender and concealed. When she is given moments to allow Mary’s grief to break through, Randolph can stir emotions without even having to speak.  One distinct scene, in which she reminisces about the time she had with her son and shares an embrace with another character, will stay with viewers long after the film ends.

Image Credit to Focus Features via Roger Ebert

One of the strongest elements of The Holdovers is its staying power. It is well-written by David Hemingson and so expertly paced that the viewer quickly loses track of how much time is passing. The Holdovers has the rare ability to gently make the audience content by simply spending time with these individuals. When it ends, viewers are left disappointed that they can’t stay with these characters for a few extra scenes.

The relationship that develops between Paul and Angus is utterly heartwarming. In the beginning, they couldn’t be more dissimilar. Over time, as they are forced to spend time together, they realize that they have more in common than either of them would have cared to admit previously. It’s thoughtfully endearing how Angus’s initial feelings towards his winter break evolve with a sense of found family as the film progresses.

Sessa is likely the most impressive aspect of the film, which marks his acting debut after being discovered by Payne leading up to the production. The fact that Sessa can match the performances of powerhouses like Giamatti and Randolph proves that he has a very bright future ahead of him. He constantly switches from lightheartedly snarky to sincerely emotional on a dime: the very definition of versatile.

Part of what makes the film feel as warm as it does is the sense of nostalgia that Payne injects into every frame. The Holdovers looks, sounds, and feels like it was plucked straight from a vault containing never-before-seen films made during the early 1970s. There are little touches spattered everywhere that evoke the cozy feeling that is distinctly created when one presses play on a vintage VHS tape. It’s impossible not to get lost in the atmosphere that Payne carefully created. 

Image Credit to Focus Features via AP News.

Adding to this sense of nostalgia is Giamatti’s performance as Paul, a character who at first feels like he’s been ripped straight from a classic teenage comedy. His disciplinarian sensibilities make Paul out to be a heartless Scrooge during the first act. However, as the plot moves forward and Paul’s layers start to unravel, Giamatti infuses a sense of sadness and longing within Paul that completely fleshes him out as a character. 

In a scene that takes place during a Christmas party, the viewer even finds themself rooting for Paul as he socializes with a school faculty member. When a universal look of disappointment and sorrow flashes across Giamatti’s face, the viewer understands exactly how he feels and experiences the same gut punch as he does. This unspoken emotion is one of Giamatti’s gifts as a performer. However, it feels even more prominent here, especially as the film reaches its conclusion.

The Holdovers’ themes of regaining faith in the world through the kindness of others are universal. The fact that its story is set during Christmas underscores this idea even more. It is a rousing tearjerker due to moments of pure comedic joy and stirring emotional beats. Its presentation makes it feel like a classic, which is exactly what it is destined to become.

Review Courtesy of Evan Miller

Feature Image Credit to Focus Features via Music Box Theatre