Alright, folks, let’s talk about The Holdovers—a film that asks, “What happens when you trap a grumpy teacher, a rebellious student, and a grieving cook in a snow-covered boarding school over Christmas?” Turns out, cinematic magic happens.
Directed by Alexander Payne, The Holdovers feels like one of those warm, slightly tattered paperbacks you find at a secondhand bookstore—nostalgic, full of wisdom, and just the right amount of bittersweet. Set in the 1970s, the film follows Paul Hunham (played by the incomparable Paul Giamatti), a curmudgeonly history teacher at Barton Academy. His holiday plans take a nosedive when he’s assigned to babysit the “holdovers”—students who have nowhere to go for Christmas. Among them is the sharp-witted but troubled Angus Tully (newcomer Dominic Sessa), who has a talent for pushing buttons. And then there’s Mary (Da’Vine Joy Randolph), the school’s head cook, carrying her own heavy heart into the holidays.
Let’s get one thing straight: Paul Giamatti was born to play Paul Hunham. His ability to deliver biting sarcasm while still making you root for him is next-level. He’s like that one teacher we all had who was a nightmare at first but secretly cared the most. Then there’s Dominic Sessa, who somehow holds his own against Giamatti’s seasoned brilliance. For a debut performance, this kid absolutely nails it—his mix of teenage angst and vulnerability feels so real, you’d think Payne just pulled him straight out of a ‘70s boarding school.
But let’s take a moment—actually, let’s take ALL the moments—for Da’Vine Joy Randolph. Because she doesn’t just steal scenes, she runs away with the whole movie. Her portrayal of Mary is deeply moving, layered with grief, resilience, and a dry humor that keeps the film from ever sinking into melodrama. If there’s any justice in the world, she’s got awards season locked down.
Payne’s direction is effortlessly old-school, and the script (written by David Hemingson) is laced with the kind of sharp dialogue that makes you laugh one second and get all misty-eyed the next. It’s the kind of storytelling that doesn’t rely on spectacle but rather on character depth and genuine human connection. And that 1970s aesthetic? Perfectly executed. The film looks like it was shot on vintage stock and then left in an attic for 40 years before being rediscovered.
In a world of bombastic blockbusters and CGI overload, The Holdovers is a refreshing change of pace. It’s funny, heartfelt, and just cynical enough to keep from being overly sentimental. So if you’re in the mood for top-tier performances, razor-sharp writing, and a film that feels like a warm, slightly boozy cup of eggnog, The Holdovers is the holiday gem you didn’t know you needed.
