“Holdovers” Is Terrific

Alexander Payne’s The Holdovers is an absolute home run — a TRULY GREAT ‘70s film, as well as a triple grade-A 2023 drama…bull’s eye!

Brilliant, I mean. A bliss-out. Warm and compassionate and at times even staggering. Wise, bittersweet, sad, fully recognizable, funny as shit, humane…layer by layer, it’s wonderfully written.

A Best Picture shoo-in; ditto Payne for Best Director and David Hemingson for Best Screenplay. A Best Actor lock for Paul Giamatti; ditto Da’Vine Joy Randolph for Best Supporting Actress.

I knew The Holdovers would be aces within the first five minutes. The attention to period detail and hair styles (it’s mostly set in December 1970) and the overall particularity…I just knew. I was in heaven soon after, and the film never stumbled or slumped or went off the road.

The Holdovers broke 25 or 30 minutes ago. The next film, Fingernails, starts in five minutes. All I know is that I’m incredibly happy as I write this.

Payne and Giamatti triumphed 19 years ago with Sideways; now they’re back in the winner’s circle and then some.

By the way: IndieWire‘s David Ehrlich is up to his old tricks…I know utter derangement when I see it.

“The Bikeriders” Wants To Resuscitate That Old Outlaw Feeling

As I was watching Jeff NicholsThe Bikeriders, I was telling myself that it’s basically about the inability (or unwillingness) of costars Tom Hardy and especially Austin Butler, playing surly-ass, black leather biker types, to perform a scene without constantly inhaling gray-blue cigarette smoke.

Lit cigarettes are a sign of weakness, the ultimate crutch used by actors who don’t have anything really figured out and who need to hide on some level.

No honest assessment of The Bikeriders will fail to acknowledge that it’s basically a posturing, surly attitude genre flick about skanky vroom-vroom machismo…about sullen Midwest motorcycle lowlifes in the general mold of Marlon Brando’s “Johnny” in The Wild One, mixed with the nihilist biker hooligan aesthetic of the AIP ‘60s motorcycle flicks (The Wild Angels, The Born Losers).

Story-wise it’s about a battle for the soul of Butler’s Benny, a moody, cool-cat rebel straight out of the Shangrilas’ ”The Leader of the Pack.”

On one side is Jodie Comer’s Kathy, who quickly becomes Benny’s girlfriend and then wife in a possibly sexless marriage (nobody fucks in this film). Kathy wants Benny to be his own man and not submit to certain aimless bullshit rituals that come with membership in a motorcycle gang.

Pulling in an opposite direction is Hardy’s Johnny, who wants Benny to succeed him as the leader of the Vandals, a mythical local gang that gradually becomes huge with several chapters around the Midwest.

The Vandals are ostensibly a black leather outlaw motorcycle club in the vein of actual old-style OMCs like Hells Angels, the Outlaws, the Bandidos and the Pagans. The difference is that the Vandals aren’t criminals. They’re just ornery guys who occasionally beat the shit out of other ornery guys. Really — that’s all that happens. Scuzzy, nihilistic, no-direction-home guys snorting brewskis, sucking down cigarettes like they’re in a cancer contest while taking offense at this or that and kicking or pounding the crap out of each other.

The Bikeriders is basically about actors playing with machismo, nihilism, nothingness and swaggering around… about Hardy, Butler and costars Michael Shannon, Boyd Holbrook and Norman Reedus attempting to resuscitate (like I just said) the old AIP biker movie aesthetic except not in California but somewhere in Illinois…that surly, unshaven, leather-jacket-wearin’ thang, man…rumblin’ those noisy choppers, man..surly attitudes, beard stubble, greasy hair, tough-asshole posturing, leather jackets with “colors” and insignias, stinky T-shirts and no change of underwear for days on end.

Please see The Bikeriders!! Some of you out there, unburdened by taste, will have a raunchy good old time with it.

Lou Reed’s “Perfect Day” (Only Half Done)

Three movies on opening day — Jeff NicholsThe Bikeriders (2:30 pm, Werner Herzog theatre), Alexander Payne‘s The Holdovers (6:30 pm, Herzog) and Emerald Fennell‘s Saltburn (9:15 pm, Galaxy).

The Patrons Brunch was delightful as always, but the weather was extra sublime…warm, slight breeze, radiant blue skies.

No time to include photo captions….later this afternoon. The Bikeriders beckons; it’s now 1:50 pm.

Our Gang

Santa Barbara Film Festival honcho and birthday boy Roger Durling hosted a “hail, hail, the gang’s all here” dinner last night at La Marmotte, the top-rated French restaurant that’s been operating since the ’90s. Happy birthday, Roger, and thanks for a joyous (i.e., frequently hilarious) evening.

Those “les plats principaux” prices are…interesting? Quote from our table: “These Marmotte guys do not fuck around.” Hat tip to La Marmotte owner Mark Reggiannini.

(Top row, l. to r.) Betsy Martindale, Wight Martindale (excellent 1% name! better than Milburn Drysdale of The Beverly Hillbillies!), IndieWire‘s Anne Thompson, Netflix talent relations and award season strategist Kelly Dalton, Amazon award-season hotshot Justin Balsamo, Hollywood Reporter exec awards editor Scott Feinberg.

(Bottom row, l. to r.) Daniel Launspach, me, Durling, Miramax vp publicity Julie Fontaine.

Friendly note to La Marmotte waiters when asked to snap group portraits: Call out “one, two, three…cheese!” before snapping. If you don’t do that everyone has to assume the freeze-smile position. I’m like Frank Sinatra was when making a movie — best (i.e. freshest and most alive) in the first take, and then the energy drops with successive takes.

Those who contend that Jeffrey is a three-syllable name…I’ve dealt with these people all my life: