“The Holdovers” (2023) Review
A Review by Victor DeBonis
“The Holdovers” is unquestionably one of the best cinematic surprises of 2023. It provides the feeling of something destined to become a Christmas classic over time, particularly for adults. Part of that comes from it being vastly bittersweet in many respects but, at the end of the day, the comedy-drama is a story about finding kindness and hope in an unexpected place in the midst of a sad time and conflicted world.
The values of promoting wisdom and strong goodness against ignorance and entitlement, of expressing selflessness and honoring humility as opposed to being selfish and being obsessed with wealth and materialism, (among other ideas) help presents a story that is heavy in heart and humanity. The movie simply decides when is the best time to reveal its warmth and soul.
Director Alexander Payne has proven himself as one of the best voices for doing this with much of his filmography. I have him, in part, to thank as one of the filmmakers whose work played a big role in my journey with film earlier on. To this day, I still remember me in my college years sitting in my dorm room on my own and watching “Sideways” and remaining in awe with everything about it, from the perfect actors chosen to the laid-back pace to the witty, humorous, and achingly sincere script. I have this movie, along with “Lost in Translation” to partly thank for further inspiring my desire to travel and try new things. It was one of those significant, cinematic experiences that helped instill the spark and love for movies that only grew.
From that point on, I have always found myself wanting to watch anything crafted by him. His direction and David Hemingson’s script evoke the familiar warmth and fierce humor common to Payne’s work, and it’s nice to see a Christmas movie that isn’t afraid to show that the holiday season, while containing much spirit, can be a weary and trying time for many.
Paul Giamatti, a character actor whose presence has brought life to many films and amusement in even some of the less successful projects of involvement, is incredible. His passion for history shines through his eagerness is sharing anecdotes about eras from long ago. As someone who is intensely passionate about, say, writing, books, and movies, I found his knowledge and love for his subject matter to be simultaneously humorous, charming, and nerdy in the best possible way. (Of course, being a nerd, in my eyes, is always a neat and wondrous thing, but that is beside the point.)
Furthermore, his smiles fall into the category of either feeling genuinely happy for others’ fortune and humor or clearly knowing about someone not being truthful and doing his best to hide that he is no fool. Either of these grins is a hint to the complexity brought to his character, thanks to a combination of both Hemingson’s writing and Giamatti’s work here. When I saw this in the theater, I and others in my audience burst to laughter from a scene in which he doesn’t say a word and simply gives a clearly overly privileged and selfish person the most disapproving look of befuddlement. Yet, for as much as he might occasionally erupt in frustration or, Giamatti as the teacher of this movie gives plenty of concern-filled glances towards those he respects and defends those he admires with sincerity ringing from his voice. A few of my favorite moments in the movie are when he speaks honestly about life not always being a pleasant experience and the reality that most (if not, all) people are trying their hardest to find their way through it with some not having the immense privilege that a few do and struggling more as a result. Giamatti may not always make the best choices or be the nicest, but, beyond being vastly intelligent and knowledgeable, he holds real compassion to those he respects and comes to admire more, even when a few people may not always make the nicest comments towards him.
Through a career rich in terrific performances, this is probably him at his best to date.
Da’Vine Joy Randolph represents the other soul from the movie in which another part of the heart, performance-wise, shines strongly. She is not afraid to speak her mind, usually at the appropriate time, and her blunt delivery of her annoyance and disapproval at something or someone is excellent at winning laughs. Similar to Giamatti’s character, she holds a similar disdain for the overly privileged and those obsessed with money and higher status at the expense of others and speaks bluntly about her disliking for such foolish individuals without even looking those in the eyes as she says it aloud. Randolph is just that confident and courageous.
To me, however, her best work in the movie results from her character attempting to overcome the loss of her son, due to the Vietnam War. In one moment, Randolph discusses what her son was planning to do if he survived the war, and her voice crackles hard at discussing what could have been. She doesn’t shed a tear in this scene, but it is very evident that she is close to doing so. Randolph represents many fighting to deal with their grief, whether they’re in a moment of anger or feel their heart hurting from something reminding them of who they lost. There is a sequence, later, in the movie in which she is further reminded of what was left behind from her son, and the love and hurt Randolph shows during this moment is beautifully and tragically voiced from her simple expressions to what sits before her.
I won’t dare reveal what happens here, but, while I have made my mixed thoughts on awards ceremonies apparent in the past, she should receive a nomination for her work in this sequence alone.
Newcomer Dominic Sessa is excellent as well and holds his own more than well next to those he shares the screen with. He is the perfect example of an actor who plays someone who, in the hands of a lesser writer and artist, could’ve been unlikable with his bitterness and fury but brings certain gestures and bits to his character that help gain sympathy for him. Take note of when unfair developments occur early on for him that put a serious setback to his plans. In these early scenes, Sessa speaks with a tone tugging from devastation, and he literally buries his head in his hands as he has trouble believing what has occurred. In between spitting back vicious insults at some of his peers, he has other moments in which he tries to negotiate with genuine maturity or speaks with equal amounts of reassurance and humorous levity to attempt to help someone feel better.
One of the cinematic scenes most seared in my mind from this year comes from a moment in this film in which a camera slowly zooms out as Sessa reveals a tragic event from his life and past, and he holds our attention and heart with the raw wistfulness and hurt from him sharing his trauma.
He is amazing in this moment and others, and I wish him a great career ahead.
Payne is terrific at guiding his actors towards giving performances that work great at voicing humor or evoking sympathy for his broken characters, but he also is remarkable at trying to create the appearance and tone of a movie that could’ve been made in 1970 on an aesthetic level. The opening logos are a nice throwback to the era with the familiar sound and visual appearance, but the overall visual appearance of the movie also provides a welcome throwback with its warmer colors that are not necessarily bright. Occasionally, a “cigarette burn” flickers across the screen to intentionally remind the audience of when those moments were common in movies from that time.
Many exceptional shots present New England with snow fluttering across rooftops and coating buildings, and they create an atmosphere of visual beauty and tranquility. They provide a break from the chaotic events in the film but, more importantly, they create a wondrous, humble environment that sings with spirit for the holiday season. The great soundtrack to this movie is also worth mentioning. Terrific music comes from Mark Orton’s score, but it also comes in the form of wonderfully sung carols or pleasant 1970’s rock songs that perfectly complement the bittersweet or laid back mood.
Hemingson’s script, as mentioned earlier, is excellent with several of the humorous lines not only being fierce in their words but also brutally honest in some places. Kevin Tent’s editing deserves recognition when it comes to humor as well, since specific shots will quickly pan over or cut to something that makes the follow-up to the previous scene of hilarity only more humorous with what it rapidly yet precisely leads up to. The audience and I laughed hard from many of the comedic scenes in this moment, and it all came from the smartness and humorous courage of its characters and what the writing with their dialogue achieved.
However, the themes discussed through the writing also bring the humanity and warmth to this film, including the idea of trying to enjoy Christmas through one’s own sadness. Choosing the Vietnam Era as the setting for the story is a rather brilliant move. While I certainly wasn’t there, I know enough about it to recognize that the time in which the conflict occurred wasn’t an easy one for many. Even if one didn’t fight in the war or know of someone who was, plenty of uncertainty and confusion roamed around the country, and the mood felt far from normal. Some were able to connect and meet with the family or friends they cherished as they were still around. Some did not.
As I read the tone of this situation aloud to myself, I can’t help but reflect on the chaotic mood through much of the year in which this article is being published and the past few years, in general, in which countless lives have been lost or gravely rattled. Some people lost a friend or family member earlier this year or the last one or from years ago, and, as a result, it isn’t necessarily that simple to celebrate the spirit of the season with the same strength or conviction as before.
I have mentioned to a few I consider close to me that, while I do greatly admire the holiday of Christmas and love numerous factors about the time, I have mixed feelings about other parts about the season. One of the biggest issues I take is when some people try to force happiness or cheer upon others in an inappropriate way, especially when someone is not having the best time for personal reasons. We never truly know what is going on in another person’s life story or what happened to them from earlier that year, and it is never wise to automatically assume that just because someone or others are happy around this time means that everyone is going to instantly feel the same cheer.
“The Holdovers” presents us with three broken souls attempting to find solace through a time in which they are isolated amongst only themselves and many are joyous and in the longer company of those they love. Randolph is in the process of trying to cope with her grief over her son who passed away far too young. Giamatti, despite admiring quietness and his space to himself, continues to carry hardened feelings from unfortunate events in his own past. And, Sessa wears the anger and confusion over himself, similar to a cloak, as he fights to understand why his family (and reality in some instances) would be so cold to him.
Part of the subtle charm from this movie results from doing different tasks to enjoy themselves, individually or in each other’s company, during the holidays. They head to museums downtown to find a pleasant time and escape from the school in which they stay. They buy Christmas trees to bring more cheer, even if they’re not the best from the parking lot. They make attempts to reconnect or find understanding in some of the scene’s saddest yet most poignant moments.
Neither of them is forcing any of them to feel 100 percent joy all the time. These human characters are simply making the most of a tough situation and finding happiness in their own methods.
I love a Christmas movie informing its audience that it’s okay to not always feel cheerful during this time and to instead feel however you do around the holidays as long as you try to manage your feelings as best as you can.
Furthermore, I love a movie that shows the importance of kindness in a not-so-understanding time and world. The main characters are brutally honest, but they have undeniable hearts and respect for those they come to know and see them for what they admire or learn more to empathize for them. I see it from the generosity Giamatti shows to Randolph as she discusses who she’s lost from her life and the selflessness Sessa demonstrates to a minor character in his time of guilt and hurt and other actions from a movie that, despite its sad and even vicious events, wears its heart and understanding of the power of connection on its sleeves.
One of the most wonderful things about the movies comes from their ability to encourage people to empathize for others beyond themselves, and this is a warm, genuine movie that doesn’t shy away from telling others to never overlook the power of listening to others or showing goodness or understanding in their own way.
We may not always agree with some individuals, and some are beyond saving or trying to connect to, but we should, at least, take time to listen and be kind to others when the opportunities arrive, and you will always know when they happen.
Seeing “The Holdovers” and reflecting back on it has made me reflect on those I have done my best to show kindness towards to and to those I am happy to call my friends and loved ones in my life.
I hope you find a movie that accomplishes the same this holiday season or whatever time it may be.
A+