The Holdovers (2023) - Movie Review

The Holdovers - A Beautiful Modern Classic

Rating - 9/10

“We’re not here to get drunk and play grab-ass. We’re here to learn.”

    Every once in a while, a film comes along that feels timeless, the kind of story that could have been made decades ago yet still resonates today. The Holdovers is exactly that kind of movie. Alexander Payne delivers a heartfelt, funny, and deeply human story about connection, loneliness, and finding family in unexpected places.

    What really makes this film shine is the acting. Paul Giamatti gives one of his best performances, bringing layers to a grumpy, awkward teacher who finds himself stuck over the holidays with students who could not go home. His delivery is sharp and witty, but underneath the sarcasm and frustration is real pain and vulnerability. Opposite him, Dominic Sessa is outstanding as the student left behind. Their back-and-forth feels natural and lived in, creating a dynamic that drives the movie forward. Da’Vine Joy Randolph also deserves major credit, grounding the film with a heartfelt and emotional performance that lingers long after the credits.

    The story itself is simple but beautifully told. It balances humor and heartache in a way that feels authentic. The setting, a snow-covered New England prep school in the 1970s adds to the movie’s charm and gives it that warm, nostalgic quality that makes you want to revisit it again and again.

    The Holdovers works because it feels honest. The characters are flawed but relatable, and the relationships that form are messy, funny, and touching all at once. It is the kind of film that reminds you why great acting matters so much, because without these performances, it would not hit nearly as hard.

    This is a movie that stays with you, one that captures the spirit of the holidays without ever feeling cheesy or overdone. It is a warm, moving story wrapped in humor and humanity, and it is one of the strongest films in recent years.

    Want me to expand this one further into more of an “awards season blog,” with emphasis on how it stacks up against other films from its year?

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