The Holdovers (2023)

Alexander Payne’s The Holdovers pitches itself as a heartwarming snowbound dramedy, a cinematic stocking stuffer promising equal parts laughs and life lessons. And while it delivers on some of the cheer, it’s a mixed bag that never quite reaches the peak of its potential.

Paul Giamatti is in his element as Paul, a curmudgeonly history teacher at a posh New England prep school, is forced to babysit a handful of oddball students over Christmas break. He’s got a heart of gold buried under layers of cynicism and sarcasm, like a grumpy ornament hiding a twinkle light. Enter Angus (Dominic Sessa), a troubled teen with a chip on his shoulder. Their unlikely bond is the film’s core, a slow-burn friendship forged in snowball fights and late-night philosophical chats.

The 1970s setting is lovingly recreated, with bell-bottoms and shag carpets galore. The soundtrack is a jukebox of nostalgic classics, but beyond the groovy veneer, the film grapples with timeless themes of loss, second chances, and the power of human connection.

Unfortunately, the plot gets bogged down in predictability at times. The thawing of Paul’s icy heart feels familiar, like a Hallmark movie with a tweed jacket. Certain supporting characters, like the enigmatic head cook Mary (Da’Vine Joy Randolph), offer intriguing glimpses but remain underdeveloped. And while the dialogue sparkles with Payne’s signature wit, it occasionally veers into preachy territory.

Giamatti, however, is a scene-stealer. He nails the grumpy-with-a-gooey-center act, his every exasperated sigh and sarcastic quip landing with perfect comic timing. Dominic Sessa, too, impresses as the troubled Angus Tulley, his vulnerability peeking through his rebellious facade. Their dynamic is the film’s strongest element, a heartwarming push-and-pull that keeps you invested.

The direction is competent, but unremarkable. Payne’s signature long takes and lingering close-ups are present, but they don’t always capture the emotional depth they aim for. The cinematography is picturesque, with snowy landscapes and cosy interiors evoking the nostalgia of a Norman Rockwell Christmas card.

The Holdovers is a pleasant enough watch, a warm blanket on a chilly night. But like a half-eaten plate of Christmas cookies, it leaves you wanting a little more. The performances are top-notch, the humour is sharp, and the themes resonate, but the predictability and underdeveloped characters hold it back from achieving true greatness.

A charming holiday dramedy with a powerhouse performance by Paul Giamatti, but insufficient in terms of originality and depth. Recommended for those looking for a lighthearted Christmas yarn with a touch of wit.

(In cinemas — check your local movie guide for show times.)