Opening this weekend:
The Holdovers--Nobody does bitterness like Paul Giamatti. From his earliest noticeable roles, as "Pig Vomit" in the Howard Stern movie Private Parts or as a pit bull owner on Homicide: Life on the Streets, he made his mark as a vessel of bristling, eye-bugging, impotent rage, and this has carried over into his best lead roles, in American Splendor or Sideways, or even in his miniseries as John Adams.
His seething high dudgeon generally is played for comedy, but even then this great actor brings it a stinging, near-tragic undercurrent; he makes his pained ineffectuality moving. With this latest from Sideways director Alexander Payne, Giamatti gets another vehicle for splenetic, barely-contained fury and defeated disgust. It's one of his best.
The time is 1970; the setting is a blueblood boys' school in Massachusetts. Giamatti plays Paul Hunham, a brilliant, exacting Ancient History teacher. Paul is single and friendless in his personal life; in class he brims with acerbic, sarcastic contempt for his lunkheaded, entitled rich-kid students.
On the eve of Christmas break, Paul gets stuck with a miserable detail: supervising the "holdovers," the handful of students stranded on campus with nowhere to go for the holiday. Perhaps the unhappiest of this unhappy lot is Angus Tully (Dominic Sessa), a bright kid with a troubled past whose Mom has excluded him from her holiday plans with her new husband. Paul's only adult ally is Mary (Da'Vine Joy Randolph), the cafeteria manager and chef, who's in mourning for her son, recently lost in Vietnam.
It likely won't astonish you to learn that as this little group clash, and then get to know each other and their backstories better, bonding and compassion start to develop between them. Working from a script by David Hemingson, Payne shades this process carefully, generating genuine and plausible warmth without slipping into holiday-movie sentiment. Not only is the film set in 1970, Payne seems to be trying for the modest, unassuming style of a Hal Ashby or James Bridges flick of that period, right down to the opening rating card and production company logos (even the movie's trailer was crafted as a throwback to this time).
The Holdovers is perhaps a bit on the poky side; little in the story gives much urgency to the pace. But the actors bring their connections to life. Giamatti's initial bile is highly entertaining and his gradually rising empathy is touching. Tall and tousle-haired, with a look of stricken perplexity on his handsome features, Sessa has a pleasing, callow awkwardness as Angus. Carrie Preston gives the movie a lift in each of her couple of scenes as a sunny-natured school administrator. And as Mary, Randolph steers around any hint of overt pathos, and as a result makes the character heroic.
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