Gywneth Paltrow might as well give her Oscar back to the Academy..

She won Best Actress in 1999 for “Shakespeare in Love.” She was never nominated again (not before). She frittered away her acting career and instead made a mint by selling overpriced crap under the name Goop.

Now she’s made a video for the 15th anniversary of Goop. In it the cameraman following her around discovers that she uses her Oscar to prop open a door in her garden.

Look, just give it back already. A lot of people worked hard to get Paltrow that Oscar. Cate Blanchett was much stronger in “Elizabeth” and probably should have won. But Paltrow was pushed by Miramax, and “SiL” was a phenomenon at the time, a refreshing take on an old subject.

Paltrow’s low regard for the movie, for the Oscars, and her acting career has already been emphasized by her. Maybe she had problems with Harvey Weinstein. Who cares? John Madden, a gifted director, made the movie. Really talented actors were part of the ensemble. Artisans created the unique look. None of them would have treated their Oscar so shabbily. Give it to Madden if you can’t show a little respect.

Until last night the Hamptons Film Festival was going off without a hitch. But nothing lasts forever.

Thirty minutes into a very packed screening of “Anatomy of a Fall,” the audience started complaining loudly there were no subtitles– mainly because some of the Cannes Palme D’or winner was in English.

But other parts were in French and German. As Justin Triet’s murder mystery got more complicated, the room became rowdy until the projectionist pressed pause and turned on the house lights.

The audience included Oscar winner Julianne Moore, director husband Bart Freundlich, married actors John Slattery and Talia Balsam, Bob Balaban and wife Lynn Grossman, plus Hamptons regulars Judy Licht and Jerry Della Femina. Ironically, much of the audience at their second film of the night, the first having been Moore’s “May December” (which she didn’t attend because of the SAG strike).

Alas, in this digital world the “files” could not be restored, so the screening was cut short and rescheduled for today. Moore, Freundlich, Slattery, and Balsam were all seen having an unexpected dinner down the street at Saint Ambroeus restaurant. Earlier, “What’s Eating Gilbert Grape?” writer-directed Peter Hedges was spotted having pizza across the street.

Otherwise, the Hamptons fest was considered quite a success. Alec Baldwin brought his seven little children to the annual Chairman’s party at Stuart Suna’s estate on Saturday afternoon — tented thanks to the rain. Also seen there was Griffin Dunne, whose movie “Ex Girlfriends” was getting raves from audiences.

PS Some jokers were heard leaving “Anatomy” saying they were going to vote for it for the audience award. Very funny. I do think Alexander Payne’s “The Holdovers” would be a better choice!

When Alexander Payne’s “The Holdovers” begins its opening credits you know something is up. The whole intro from the MPAA ratings warning to the Focus Features logo has been designed to indicate this is the very early 1970s. Right away the tone is set.

“The Holdovers” indeed takes place in 1970-71 at a boarding school in Massachusetts named Barton that has been there for a hundred years. Rich kids have been sent there by their parents who are busy traveling, divorcing, or living it up. Helicopters are sent for the kids if they need to be seen. The kids themselves aren’t great students, but they’re “legacy” with buildings donated by their families.

Paul Hunham, played with meticulous irascibility and charm by Paul Giamatti, has been there pretty much his whole life. He was a student who graduated to Harvard and then returned as a professor. He’s had no other life, has no family or personal relationships. He’s dying there even if he doesn’t know it. At Christmas 1970, Hunham is assigned to watch, over the holidays, the boys whose parents won’t retrieve them. They’re the holdovers.

This is not “Dead Poets Society” or “Mr. Holland’s Opus.” Payne works for the first time with a screenwriter named David Hemingson who seems to have some knowledge of the academic world. Giamatti comes at the role with some life history. His father, the late Bart Giamiatti, was president of Yale University.

Mr. Hunham’s holdovers are eventually whittled down to two: Da’Vine Joy Randolph as Mary, the school cook whose son graduated from the school and immediately died in Vietnam; and Angus Tully, a junior played by Dominic Sessa. This trio is the center of the film and they should all have Oscar noms and be SAG Best Ensemble candidates. Their work together is heartbreaking and gentle and superior.

“The Holdovers” is Payne’s homage to movies like “The Graduate” and “Love Story,” in tone and to famous novels like “Catcher in the Rye” and “A Separate Peace,” among others. Barton at Christmas is covered in snow that looks like cake icing, and lingers under smoky gray skies all day. It’s always cold — “fifteen degrees,” as Angus notes. There’s a lot of melancholy.

Sometimes Payne looks like he’s actually following shots from the movies I mentioned. “The Graduate” hovers in camera work and Simon & Garfunkel type songs. When Hunham comes out of the school to reconnoiter a snowy field, Payne swings in and out with the same energy as Mike Nichols filming Benjamin pounding on the church windows above Elaine’s wedding. In the dorms, the boys could easily be Holden and his pals from “Catcher.” The boys seem like they will go on to punch the shoulders of Oliver and his friends at Harvard in “Love Story.”

But Hemingson’s screenplay with Payne’s touches do more than just hang around the school concentrating on student and teacher. The addition of Mary the cook and her backstory adds genuine poignancy. Hemingson has a nice way of exploring all their relationships among each other, not to mention throwing in Carrie Preston as a very likable local who works at the school and comes to care for all three of the principals.

Payne always has an eye for small towns in movies like “Sideways,” “About Schmidt,” and “Nebraska.” He gets the pace, and the silences. His movies are no in no hurry. They feel like folk stories told on a front porch. “The Holdovers” couldn’t be more gracious, even though it has plenty of laughs. It’s also a kind of sophisticated filmmaking rarely seen anymore in non-‘event’ movies.

“The Holdovers” premiered at the Toronto Film Festival to great acclaim and played last night to a full, very appreciative house at the Hamptons Film Festival. It opens in theaters on October 26th and you have no reason not to see it ASAP.