Labor Day

"I'm a lot stronger than you think." "I don't doubt that." Adele and Frank.

Director Jason Reitman is no stranger to unusual family stories (Juno) or character drama (Up in the Air), so his enjoyable Labor Day is a bit of both without the humor. Because this is January, a dead-zone time for releases, it's even more impressive as an audience-pleasing drama about an escaped convict Frank (Josh Brolin) and a mother he kidnaps, Adele (Kate Winslet), along with her 7th grade son, Henry (Gattlin Griffith).

Let's get the formula out now: she falls in love with her captor and the son willingly learns about life and baseball. The real life, however, is hounding them as the law closes in on their 5 days of "family" bliss. However, the authorities are too slow to stop the best family pie making scene ever, domestic stuff just one of charming murderer Frank's gifts and a Reitman specialty.

Recently Mud is similarly about the coming of age and criminal motif and Revolutionary Road with Winslet about a disintegrating family. Yet Reitman and novelist Joyce Maynard have crafted a story that slowly makes believable the growing love between captive and captor, a relationship helped by the classy acting chops of Winslet and Brolin. Although everyone knows helping an escaped criminal leads to serious jail time, this case actually cuts Adele a great deal of slack in the guilty category. As Reitman slowly reveals their mutually grim backgrounds, we are aware that her needs for the touch of a lover are so acute that even this gamble could be worth the risk.

Although Labor Day comes close to Nicholas Sparks' sentimental claptrap, Reitman preserves everyone's dignity, lets love grow, and ushers a kid into a complicated world of love and danger—a labor of love, so to speak, on the film's titular weekend, typically American and hard work: "I sensed my inadequacy," says the adult Henry in voice over. In matters of the heart, we're all inadequate and need films like Labor Day to help us move on.

The movie Labor Day stars Kate Winslet, Gattlin Griffith, and Josh Brolin. When I saw this film yesterday, I was lucky enough to have the director, Jason Reitman, get up on stage and introduce the movie. He made it clear that this film was not a comedy, but a romantic drama that he made with tons of passion. For what it is, I think the film is amazing. I will warn you, this is a film was made for women, but guys can appreciate it too.

So this movie was fun to watch. There was a lot of tension, and the actors did a good job of making even the unbelievable situations seem natural. There was a mystery that unfolded over the course of the movie, and the film was able to create real emotion and genuine shock from the audience. There is also great cinematography, nice subplots, and a final quarter that keeps you guessing. I'm not exaggerating any of this, so seriously ignore the critics and give this film a chance.

The main thing that is wrong with the film is a certain level of disbelief, but it doesn't require more suspension of disbelief than any of the big blockbuster movies. It could also get cheesy and a little uncomfortable to watch at times, but it is still a great movie. i hope Jason Reitman continues to make great movies, as he has not made a single misstep in his career yet.

This is a good movie to take a girl to on a date, and I'm sure you both could enjoy it. It is a little like a Nicolas Sparks book except with Oscar level acting, directing, cinematography, and screen writing, so if that sounds like your kind of thing, I highly recommend this movie, and reward it with an 8.7/10 stars.

This word say nothing. Because the beauty of this film is bitter and hard and melancholic and high delicate. The life of a single mother and her son is changed in profound sense by the presence of a stranger. A love story. And more. A story about chance and a sort of profound America, so familiar to not Americans, a sort of peach pie in the veil of cinnamon. And magnificent performances. Not surprising but a precious gift.

OK, Josh Brolin has redeemed himself after the disaster of "Old Boy", phew...i was getting worried there as he is one of my favorite actors. this movie is totally different then what i had thought of it in my head. i thought it was gonna be a little bit like the movie " a perfect world " but it was nothing like that.

i was surprised this movie came and went without any fanfare as it really is a good movie and one of my favorites of the year. the 2 adult leads were great and the kid was also very good.

the story is about an escaped convict who gets holed up in a mentally fragile divorcée and her sons home over Labor Day and then what happens the next few days and the consequences of peoples actions even if they didn't mean anything bad by doing such acts.

loved the setting in a slow moving beautiful town atmosphere where it seems like everything moves like molasses, there seem to be a calmness to the picture but right underneath that you could feel the uneasiness and hidden angst of each of the characters in this movie.

also this is a movie about the coming of age of the boy and some of the logical and illogical choices he makes, including one biggg one that has direct consequences for Josh Brolins character.

very very solid movie, bittersweet and moving, almost, but not made me cried. Josh Brolin is back on track again, very good performance from him and everybody involved. one of the must see movies of the year.

Labor Day is an unbelievably gorgeous mood piece, a finely-tuned film which is strongly driven by senses and emotions over plot or story. It's arguably one of the best films of 2013.

I haven't seen a Reitman film since Juno so I haven't caught up. So I'm not sure where he matured from a 'good' director of a quirky script to an 'art' director who can carry an entire film on his shoulders. That's not to say everyone else in this film didn't do a great job. But the film works because of Reitman's meticulous vision.

Heavy use of cross-fades, editing driven by emotional undercurrent over logic, and some stream-of-consciousness flowing from a mysterious source. The music is avant-garde and beautiful, one moment eerie and unsettling, the next pleasant and lilting. Which reflects the way the film, like a piece of classical music, displays sudden shifts of mood or tonality, back and forth, requiring your utmost concentration and appreciation.

Writing too much else would spoil the fun. But the mindset you should bring this film, should you want to see it, is to give yourself over to the experience, rather than bringing an overly (and unnecessarily) critical mind to it's 'unoriginal' or 'uneventful' plot.