Labor Day (2013)

laborday_2013_poster
Labor Day (2013)
  • Time: 111 min
  • Genre: Drama
  • Director: Jason Reitman
  • Cast: Kate Winslet, Josh Brolin, Tobey Maguire, James Van Der Beek

Storyline:

“Labor Day” centers on 13-year-old Henry Wheeler, who struggles to be the man of his house and care for his reclusive mother Adele while confronting all the pangs of adolescence. On a back-to-school shopping trip, Henry and his mother encounter Frank Chambers, a man both intimidating and clearly in need of help, who convinces them to take him into their home and later is revealed to be an escaped convict. The events of this long Labor Day weekend will shape them for the rest of their lives.

One review

  • These films are made ​​to be hated. They are made to Tara Barr of “God Bless America” go with her gun. “Labor Day” is as interesting as a failed experiment, is ultimately an effort that does not hurt

    The director behind this is Jason Reitman, the same as his talent concocted the films “Up In The Air” and “Juno”. It is likely that “Juno” is not a great movie (the main point was Juno’s pregnancy, but was diverted to an inconsistent story of infertile parents), but it was not bad and, ultimately , you could blame Diablo Cody script , which has a tendency to exaggerate the importance of teenage rebellion (after all , the concept of “rebellion” is for teens: wrong answer their teacher, be angry with their parents, listen to Rock and that sort of thing . Hardly want to leave the convenient system in which they live), giving it an operatic coverage in the vein of Evanescence with indie music and ocher tones, rather than choose to follow the path of John Hughes. However Reitman shows that he also wants to belong to that world, but “Labor Day” is not about teenagers but for adults. If his previous projects were reformulations of “Juno”, now it’s time to move forward with older people. No more rock / indie or garage groups and struggles between smart teen and conservative rest. Now is the depressive housewife, the good son who wants to help her, the estranged father, and the perfect man. Well, are clichés, but what does it matter ?

    Really matters in a certain sense. The problem is that “Labor Day” is farther from “Juno” and closer to “Seven Days To Noon” (1950), where the criminal was too good to be called so. Here Brolin is very, very good to threaten a family for them offered him a refuge: almost he asks them kneeling. Plus has the ability to Ratatouille with meals, he is an excellent free mechanical and inspires a paternal image on the family. You want to be abducted by Brolin. Sure, the film tries to balance with the excuse that Mr. Josh is not a bad man, but it hardly works. Sure, Brolin just ask shelter and is not strictly a kidnapping, but hardly works. It’s bizarre the context; Brolin at least should have regulated things up, harden himself and order instructions to the family so that the viewer understands that they do not cease to be living with a criminal. Jason Reitman should have taken some lessons from John Waters, where his characters were very perverted criminals but noble heart. But “Labor Day” is too wordy and middle-class to tune in to John Waters . Everything is so bizarre so pure, Josh Brolin is so good that fascinates

    And if the director thought the story was doing a great coming- of-age movie for adults, making some decisions à la Juno but boosted: “Labor Day” has a soundtrack, an existential background music covering the entire film. Only a very few seconds where the music stops, to return to re- start. Obviously a film like this can not be good, but sick

    The film features a large cast of talent including Miss Kate Winslet and Josh Brolin, and some appearance of JK Simmons. And while running, you can entertain yourself with mediocre story and superb performances, and obviate the contemplative images and the awkward flashbacks (are awkward because they invade the screen abruptly, are terse and clipped images to not reveal too much). But besides the purity of Brolin, the script (by Reitman) is too lenient and unnecessarily expand the artistic vision of the movie: to give an absolute example, the end of “Labor Day” is very long (and remembers to “The Lord of the Rings: The Return of the King” where after it was over, had an epilogue of the Hobbits to swallow). Few subplots that do not work are also included: Winslet infertility is a trivial fact for the movie (and remembers to “Instructions Not Included” where shooting a lot of ideas without much development); while on the other hand subplot between Gattlin Griffith and her friend / girlfriend is nominal, with Brighid Fleming suffering eating disorders and which touches the misfortune of saying stupid things. Because her character only appears occasionally, the writer unsuccessfully recharged her of overwhelming statements to give consistency in a short term; so she is very smart and talks about parents having sex and getting rid of the children, changing schools and city, absent parents and other overwhelming and “super-clever” stuff that hardly have a purpose (also if she’s so smart of the situation, Why she is anorexic ? one supposed she is sooo smart to fall for that)

    Definitely “Labor Day” is bizarre, an environmental product. Depending on your tolerance, hate or accept it , but it is impossible to love. Here is tolerance, we were tolerant in “White House Down”…

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