The Holdovers is, for all of the character dynamics and dysfunction and depression and other things we find out about the leads, mostly with Mr. Hunham and Angus and how their characters over these couple of weeks turn away from the "Barton" way of not telling lies (because, well, sometimes context and the moment matter for telling a lie that won't really hurt, maybe), a strangely comforting film to watch. Not for all of that exactly, though what we understand slowly but surely is this is all material for comedy and tragedy in equal measure, but because of the feeling that we get with a filmmaker who is so primed and confident with material that you don't feel like it can go wrong.
What is more impressive is that, as enjoyable as the first half is, it is in the "I like this" mode as we are introduced to this world and Hunham and Angus and Mary, but it doesn't feel so special. But I should have known Payne and writer David Hemingson were laying down the necessary groundwork for what comes the moment a) the majority of the other supporting characters leave for reasons I don't have to mention here, and b) then the characters go outside the Barton campus grounds on a holiday party and then a "field trip" to Boston, you get the sense moment by moment and interaction by interaction it is so sharp and cutting and wise, and one scene in particular makes the jump into "oh, OK, this is taking off into another level of personal pain and about familial expectations and what will come with in a life measuring up to others - and why that is wrong - and... yeah, it's great" territory.
In other words, it's the kind of film I want to watch again right away simply because now that I know a little more about the characters, I'll want to experience all of the extra textures (its 1970 down to the wood paneling and the car seats), and dig a little more into those absolutely wonderful natural restrained and complete performances - we take Giamatti for granted sometimes and this is a character he should be proud of to craft, lazy-ass eyes and all; Sessa's first role and he is an immediate star; I can't be more sure of anything for the next Oscar's that, if Randolph is nominated, she will win, if nothing else for everything she does at the Christmas party scenes, and a moment looking over some objects in a room later on is so moving - and my comfort is in seeing Payne clearly loving directing this intimate character study where he can show what a comedically observant, quick witted, and heartbreaking story this all is.
It's one of the best Christmas movies in several years, embodying many themes and ideals that fit like a 70s wool sweater, and I'm sure the first thing Payne must have thought after reading the script was "whoa. This is gonna be the best Hal Ashby or Bob Rafelson movie never made... is 'The Last Holdover' too on the nose?" Even Hunham would give this... a B+ probably (did he ever give As? Shrug).
What is more impressive is that, as enjoyable as the first half is, it is in the "I like this" mode as we are introduced to this world and Hunham and Angus and Mary, but it doesn't feel so special. But I should have known Payne and writer David Hemingson were laying down the necessary groundwork for what comes the moment a) the majority of the other supporting characters leave for reasons I don't have to mention here, and b) then the characters go outside the Barton campus grounds on a holiday party and then a "field trip" to Boston, you get the sense moment by moment and interaction by interaction it is so sharp and cutting and wise, and one scene in particular makes the jump into "oh, OK, this is taking off into another level of personal pain and about familial expectations and what will come with in a life measuring up to others - and why that is wrong - and... yeah, it's great" territory.
In other words, it's the kind of film I want to watch again right away simply because now that I know a little more about the characters, I'll want to experience all of the extra textures (its 1970 down to the wood paneling and the car seats), and dig a little more into those absolutely wonderful natural restrained and complete performances - we take Giamatti for granted sometimes and this is a character he should be proud of to craft, lazy-ass eyes and all; Sessa's first role and he is an immediate star; I can't be more sure of anything for the next Oscar's that, if Randolph is nominated, she will win, if nothing else for everything she does at the Christmas party scenes, and a moment looking over some objects in a room later on is so moving - and my comfort is in seeing Payne clearly loving directing this intimate character study where he can show what a comedically observant, quick witted, and heartbreaking story this all is.
It's one of the best Christmas movies in several years, embodying many themes and ideals that fit like a 70s wool sweater, and I'm sure the first thing Payne must have thought after reading the script was "whoa. This is gonna be the best Hal Ashby or Bob Rafelson movie never made... is 'The Last Holdover' too on the nose?" Even Hunham would give this... a B+ probably (did he ever give As? Shrug).