The Nineteen-Seventies of “The Holdovers” Is Conveniently Sanitized

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The Nineteen-Seventies of “The Holdovers” Is Conveniently Sanitized
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Richard Brody reviews Alexander Payne’s newest film, “The Holdovers,” starring Paul Giamatti, Dominic Sessa, and Da’Vine Joy Randolph.

Whether it was ever really so or not is secondary; the prime question is how meaningfully Payne’s movie makes the case. He does so with a blend of intelligence and emotion—a clever selection of familiar elements and an earnest investment in their dramatic power. The movie is a pile of clichés reprocessed with such loving immediacy that it feels as if Payne were discovering them for himself.

As each learns the specific secret griefs that have made the other so bitter and hostile, we viewers belatedly learn, along with them, what specific traumas have determined the entire course of the action. In the process, the two forge a deep bond, of major practical consequence, that proves Paul’s virtues as a teacher and sets Angus on a constructive path.

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