The Holdovers - Fröhliches Unbehagen

And the prize for the year's best acting trio goes to ... the chef, Paul Giamatti and his student. Alexander Payne is unique. He always picks a serious subject and wraps it in subtle and sometimes biting humor, and throws in an interesting point on top. The main thing here is how it is possible to humanise a grumpy and strict professor into an understanding and sensitive being without smacking of some cheap scriptwriting crutch. Giamatti absolutely shines in his role, reminiscent of Payne's best film to date, Sideways. There, Giamatti lived only for wine and everything related to it and women were rather on the fringes of his interests, here he lives only for his ancient Greece, for ancient history and women are again on the sidelines for him. Thanks his skill as an actor and his physiognomy, no one would be more suited to the role than the slightly chubby Paul – an Oscar nomination probably won't jingle from this, but it certainly should. And it's not just Paul, but the captain is back in full force after the botched Downsizing, proving why he's a star of independent filmmaking. Payne gently slides between the slightly depressing moods and the feel-good ones, and even though it ends the way it does, you get an awfully good feeling from it all. (01.01.2024)

Feel good, yet feel sad. Alexander Payne delivers one of the best films of the year, and he only needed relatively little to do so: a sensitively written script and some good actors. Ordinary, yet beautiful. I like big, unique and original concepts in movies, but sometimes "a little" is more than "a lot". This conniving little man ambushed me and managed to win me over. (23.12.2023)

Alexander Payne knows how to make dramas that are humanly warm one moment and uncomfortably acerbic a few moments later. Few filmmakers are as good at it as him, and I'm glad he reminded us of that with The Holdovers. Paul Giamatti is excellent, as are his two less famous colleagues, both of whom we hope to hear from in the future. There's some excellent work with the gradual reveal of the characters and the fact that everyone carries their past, trauma and insecurities within them and it takes a lot of work to start talking about them or even confronting them. I definitely appreciate that Payne doesn't push the envelope in this regard and is rather restrained in working with emotions, not trying to make the characters laugh, move or bare their innermost selves at all costs. He just follows the three lost souls left to fend for themselves at Christmas. The seventies feel (not just the setting) is beautiful too, and overall it's very nice to watch. Whether you take it as a bittersweet pice or a gritty drama about how everyone just has to deal with certain things on their own, it's still not a bad thing to have someone by your side. (21.02.2024)

I was curious about this praised drama, what makes it so special that everybody admires it and it's not bad. I won’t get any hate from me, but at the same time I don't find much reason to be happy. It's just too ordinary for my taste, the premise was definitely not thought up by 10 heads over half a year, and for a film that can only rely on the story and the actors, I was expecting something more interesting. At least in terms of humour and emotions it's quite bland. When I compare it to films like Whiplash or Green Book, it's a different cup of tea. Paul Giamatti rather annoyed me with his squinting eye, but Dominic Sessa was fine. I would have enjoyed it more if it was set in a school with students. It was okay for one viewing, but I definitely won't go back to it again. 6/10. (09.04.2024)

At first glance, The Holdovers is a very unassuming film, where simplicity is beauty. Despite the rather straightforward plot, it managed to really win me over, both on the dramatic and the comedy level. Even though Alexander Payne's film deals with serious and still very topical issues, they are presented in an incredibly relatable way that leaves you feeling good. That said, The Holdovers wouldn't be what it is if it wasn’t for the convincing performances of the central trio of "ordinary" people brought together by fate and their life traumas. The icing on the cake is the authentic, "vintage" style of the image, it makes you feel you are watching a fifty-year old film. (07.03.2024)

Let me tell you, it was quite the ride. Now, I wouldn't exactly recommend this film to the average young viewer of today. It's the kind of story that might leave those who get anxious about an untied shoelace with lasting trauma. And don't even get me started on trying to explain to them about a time when the closest thing we had to a touchscreen was a TV screen when we were dusting it. Back then, people actually talked to each other face-to-face. I can almost hear the collective gasp of horror from the touchscreen generation, so I'll spare them the agony and move right along. It's rare for me to stumble upon a film like this, one that leaves me struggling to find fault. Sure, there might be nitpicks here and there, but honestly, I couldn't be bothered to look for them. This is a genuine, human story about ordinary folks that steers clear of clichéd melodrama, and that's a rarity these days. Oh, and let's not forget to give props to Paul Giamatti – the man's a legend, as always. / Lesson learned: Librium will chase all the blues away. Even the Christmas ones. (06.05.2024)

Zwei Dickschädel, die sich anfangs nichts gefallen lassen. Später sind es aber ihre inneren Dämonen, die sie widerwillig zusammenführen. Giamatti und Sessa sind ein großartiges Duo, das nichts Neues in den Ring bringt, aber die Selbstsicherheit, mit der sie Alexander Payne im Gewand der 70er Jahre führt, ist phänomenal. Wer mich ein wenig kennt, weiß, dass ich eine Schwäche für dieses Schul-Subgenre habe. Der Club der toten Dichter, Der Duft der Frauen und Good Will Hunting sind für mich bis heute der Maßstab für die besten Gute-Nacht-Geschichten. The Holdovers hat – abgesehen von der endlosen Reihe antiker Sprüche – die erwähnten Filme wahrscheinlich in keiner Hinsicht übertroffen. Aber allein die Tatsache, dass ich ihn im Jahr 2023 als jüngeren Weihnachtsbruder neben diesen Klassikern empfehlen kann, macht mir eine große Freude. [Viennale 2023] (31.10.2023)