Not a particularly successful film financially,  the dramedy The Holdovers nevertheless managed to snag five Oscar nominations. The Best Picture nomination isn’t even close to being deserved, especially in a year like this. But at least two of the other nominations are deserved, and are the reason to see the film. They are the performances of lead Paul Giamatti—very much loved in Hollywood—and Da’Vine Joy Randolph, who runs away with the film.

If Dead Poets Society and The Sterile Cuckoo had a baby, it would something like The Holdovers. We have a teacher trying hard to instill at least something of worth in his students and we have a confluence of events that lead to folks being stuck at school over the holidays. ‘Nuff said about the storyline. If the plot seems a bit retro, the entire film embraces that, leaning heavily into a 1970s feel, 1970’s music, and even a heavy 1970s filmmaking style that can seem jarring at times to those not realizing what director Alexander Payne is trying to do (e.g., that quick reverse zoom that could take one out of the film entirely).

But this familiarity and sense of throwback help make this a comfortable film to watch. It’s as threatening and subversive as a basket of puppies and often just as cute. Casting the ever-lovable Paul G. in the lead is reassuring to the viewer, especially to those who have his famous performance in Sideways as a backdrop (we just need to forget about his role in 12 Years a Slave). There are a lot of tug-at-your-heartstrings moments—perhaps one or two too many—but a tight yet laidback film like The Holdovers can be seen as counterprogramming to a loud superhero movie or anything in the category of Barbenheimer.

Giamatti, whom I originally hoped would be so fresh and wonderful that he might win the Oscar, isn’t, but is nonetheless solid and hits every note well. He is almost always a joy to watch, and no matter how stubborn and clueless and even cruel his character here can be at times, since it’s Paul G., we still love him.

Da’Vine Joy Randolph’s character could have easily been cloyingly stereotypical, but what she does with it is quietly amazing. As a pillar in the film’s structure, it’s her job to be the down-home realist who brings loving support when needed, and a swift metaphorical kick in the rear end when required (mostly by Paul G.’s character). But she is an excellent example of how to flesh out a role that on paper seems rather formulaic. Yes, as an actress she has her “big moment,” but even that is underplayed. What is a joy to watch is how realistic and specific her dialogue is in every conversation. This is not a typical character that any decent actress could have played; this is a fully formed human with depth, insight, and yes, the requisite humor. She seems a lock on the Oscar. Her performance reminded me of the response to Broadway legend Laurette Taylor’s stunning performance in the original stage version of A Glass Menagerie, that was hailed as so true and un-stagy that a common description was that she didn’t come across as an actress as much as someone wandering in off the streets and being real for two hours. Randolph’s performance is a triumph of not just what is, but of what she managed to avoid.

Dominic Sessa as the troubled kid left behind and Carrie Preston as a blink-or-you’ll-miss it romantic possibility for the teacher are both marvelous, and their work shouldn’t go unnoticed with two other large performances around them.

Oddly for a film from director Alexander Payne film, who usually writes his scripts, this screenplay by David Hemingson seems a bit paint-by numbers, showing the seams more than it should: the rich man taking away everyone BUT “the kid who will be left behind” is a bit bumpy, as is the discovery of a certain medication by the teacher, for example. The structure creaks here and there, but is like an old comfy house with an occasional squeak of a floor and a draft from some of the windows. Not cutting edge in any way, but either comfortably familiar and non-threatening, or cliché and derivative. You choose.

Randolph will likely bring home the film’s only Oscar. She well deserves it, but the film is ultimately an enjoyable, “they don’t make movies like that anymore” film most folks will end up enjoying at home.