By Jason Osiason

The Holdovers

A touching film that warmly tugs at the heartstrings, The Holdovers delivers nostalgia and joy. Paul Giamatti’s exceptional portrayal of Professor Hunham stands out, embodying the quintessential on-screen educator with depth and complexity; it’s one of the year’s best performances. In The Holdovers, the story revolves around the grumpy Professor Hunham, who is forced to remain at the school during the Christmas break to supervise the students who have nowhere to go. One of these students is Angus, portrayed by Dominic Sessa, whose strained relationship with his father, a man who is no longer the person he once was, adds depth to the narrative. Meanwhile, Mary, the school cook played by Da’Vine Joy Randolph, mourns the loss of her son in Vietnam and finds solace in her work at the school.

Director Alexander Payne’s careful crafting ensures each scene is impactful, mixing humor and poignant themes to weave a narrative about the beauty of forming unexpected bonds. Visually and musically, the film captures the ’70s spirit, enhancing the story’s emotive power. A standout at TIFF, The Holdovers is a masterful film that celebrates the transformative power of relationships and the profound role character plays in our lives. It is a testament to the type of classical cinema that resonates on a human level. [A]

American Fiction

A remarkable dramaedy, American Fiction is the type of film discovery that these film festivals are made for. It combines sharp wit, biting satire, and outstanding performances. Fearlessly addressing race, the entertainment industry, and the universal struggles of aging and unfulfillment, this film serves as a timely critique of racial stereotypes in the industry. The plot follows Dr. Thelonious ‘Monk’ Ellison, a frustrated author who writes a satirical novel under a pen name to expose the literary world’s biases, only to see it become a bestseller. Jeffrey Wright’s exemplary performance stands out, but what truly distinguishes American Fiction is its skillful balance of weighty themes with a savagely funny sense of humor. The film’s spot-on satire exposes the hypocrisy and performative allyship in the entertainment world. Adding an emotional layer, the exploration of aging and unfulfillment offers viewers a relatable backdrop for the broader societal issues at hand. Monk’s journey to reconcile authenticity with commercial demands is utterly engrossing. And for a directorial debut, Cord Jefferson has quite the ear for sharp social commentary and is clearly a talented screenwriter who knows how to play his audience like a fiddle, making this a significant and promising start to a long directorial career ahead. [B+]

Hell of a Summer

Hell of a Summer is an impressive debut for young filmmakers Billy Bryk and Finn Wolfhard, showcasing their potential within the genre despite its predictability and some rookie rough edges. The film takes a familiar slasher trope to summer camp, where a group of teenagers, featuring Fred Hechinger’s camp counselor leading the pack, navigate the typical camp activities and classic budding romances. Hechinger delivers a standout performance that adds depth to his ‘loser’ character, who finds himself at the center of the unfolding horror as a masked killer begins to stalk the campers.

The film’s charm lies partly in its relatable and lively dialogue, setting it apart as a crowd-pleaser despite its slow start and safe approach to horror elements. Though it may not break new ground, the natural chemistry of the cast and the directors’ raw approach indicate a promising start to their filmmaking careers. The camp setting becomes a character in itself, with its eerie woods and abandoned cabins adding to the suspense.

Additionally, the film uniquely balances humor and suspense, a testament to Bryk and Wolfhard’s understanding of the genre’s dynamics and influences. The campers’ attempts to enjoy their summer while dealing with the creeping dread of the killer’s presence provide both well-earned laughs and scares. Moreover, its contemporary twist on classic horror tropes offers a fresh perspective, signaling a new wave of young talent in the horror film industry. [B]

Memory

Michel Franco’s Memory stands out as a cinematic jewel, weaving a narrative that is both chilling and sobering. The film features Peter Sarsgaard and Jessica Chastain in roles that mirror the human condition through the lens of trauma and cognitive decline, marking a significant breakthrough for Franco as a filmmaker. Their performances are a ballet of raw emotion, where each step reveals the depth of their bonded souls. The plot follows a chance encounter at a high school reunion that becomes a pivotal moment for both characters. As they navigate the intricate web of their shared history and present struggles, their connection deepens, highlighting the beauty and pain of memory and shared experience. Franco’s minimalist direction magnifies their plight, crafting a tale that is as much a portrait of connection as it is a poignant study of the fragility of the mind. The absence of a score serves to underscore the quiet but profound drama unfolding on screen. Memory is not just a film; it’s a resonant experience that firmly places Franco in the cinematic limelight, proving that sometimes the most profound connections are born from shared brokenness. [B+]