The Holdovers uncorks Alexander Payne’s latest vintage

The Holdovers is one of those movies that doesn’t try too hard yet manages to capture the human condition in all its messy glory. Set in the 1970s, it follows the unlikely pairing of Paul Hunham (Paul Giamatti), a curmudgeonly history teacher left in charge of a group of students who remain on campus over the Christmas break. Alongside him is the school’s chef, Mary (Da’Vine Joy Randolph), dealing with her own grief and frustrations. The dynamic between the characters forms the core of the film, unfolding a story that’s funny, tender, and sharply observant.

Paul Giamatti shines as the disgruntled professor, bringing both his trademark sarcasm and an undercurrent of vulnerability to the role. His character is difficult to love at first—gruff, pedantic, and thoroughly irritating—but Giamatti’s nuanced performance gradually peels back the layers, revealing a man burdened by regret and loneliness. Meanwhile, Da’Vine Joy Randolph offers a stellar turn as Mary, delivering moments of warmth and sorrow that cut through Giamatti’s prickliness like a hot knife through butter.

Alexander Payne, known for his adept handling of flawed characters in films like Sideways and Nebraska, finds similar fertile ground here. His direction imbues the story with a certain melancholic charm, using the drab, wintry school setting as both a physical and emotional landscape for the characters. It’s the kind of setting that could easily tip into boredom, but Payne’s keen eye for small, human moments ensures that the story stays engaging.

However, it’s not all perfect. The pacing can feel sluggish at times, particularly in the second act where the narrative meanders a bit too long on its way to the emotional payoff. Some viewers may also find the film’s reliance on vintage tropes to be bordering on indulgent. Yet, these flaws feel minor in the grander scheme of what The Holdovers achieves—a bittersweet exploration of life’s unexpected bonds and the solace found in unlikely friendships.

Overall, The Holdovers succeeds as a quiet, reflective drama that sneaks up on you with its charm. Its balance of wit and sentimentality, coupled with compelling performances, makes it an endearing addition to Payne’s filmography. It’s a film that doesn’t pander or preach but simply allows its characters to exist in their flawed, unvarnished glory.