The Holdovers (2023)

Payne once again proves his mastery in storytelling, delivering a film that’s authentically nostalgic, melancholy, and wistful. The narrative is perfectly balanced with just the right amount of quirkiness, awkwardness, sharp dialogue, and moments of genuine humanity.

From the first frame to last, Payne approaches Wes Anderson levels of nostalgia and dry quirk, with meticulous attention paid to making the film look like it was shot in the period, from the wonderful custom title cards by graphic designer Nate Carlson to the film stock to the camera zooms. Instead of capturing our attention, the rich and detailed and beautifully shot sets exist strictly in support of the characters and story, which is the way it should be. The subtle score, featuring songs of the era, gentle jazz for silent montages, and a hint of harmonica, much of which is played in a minor key, perfectly sets the wistful mood. I can’t think of another film that more authentically captured the look and feel of this era.

The film’s period authenticity is further bolstered by superb casting, understated and carefully managed performances, and hairstyles and costumes that stay true to the time. Paul Giamatti’s portrayal of Angus is reminiscent of his character Miles from Sideways. In many ways, Angus could be the same person: a blend of acerbic wit, sarcasm, elitism, and linguistic prowess, combined with emotional isolation, loneliness, insecurity, social anxiety, and romantic challenges. Once again, we join Giamatti in his charming but painful quest to find someone who can keep up with him. In this one, his lazy eye works perfectly to make a character who is a little bit off even more off, though seeing it switch places throughout the film was a bit distracting. Newcomer Dominic Sessa holds his own against Giamatti, and Da’Vine Joy Randolph’s portrayal of Mary provides a perfect counterbalance to both. The chemistry among the trio is exquisite. Even the actors playing smaller parts were perfect.

And in the end, Angus hits the road and metaphorically takes his life in a new direction, another Payne trademark.

It’s a long movie, but it’s a lovely one to get lost in for a while. It gave me that visceral, emotional massage that all good movies should. So many beautiful moments.