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Director Jason Reitman has made some of my favorite films in recent years—clever films like .nightsandweekends.com/articles/06/NW0600505.php>Thank You For Smoking and Up in the Air that tackle serious issues with a sharp sense of humor. I’ve enjoyed his films so much that every single one of them has made my year-end top-10 list. And that’s why I was so perplexed (and a little bit dismayed) by his latest film, Labor Day.
Based on the book by Joyce Maynard, Labor Day is the story of two sad, lonely characters who are brought together under less than ideal circumstances. Adele (Kate Winslet) is a single mom who has slipped into a depression so deep that she rarely leaves the house. But on her monthly outing for supplies with her pre-teen son, Henry (Gattlin Griffith), she crosses paths with Frank (Josh Brolin), an escaped murderer who quietly threatens his way into their car…and then their home.
As Frank hides out from the police over the holiday weekend, waiting for a chance to run, he, Adele, and Henry all begin to realize that their strange and precarious arrangement holds everything that they’ve been missing in life.
Originally tapped as an award season drama, Reitman’s Labor Day ends up feeling more like a sappy Valentine’s weekend release than a clever and compelling award contender. Though it’s quietly suspenseful in the beginning, it soon turns into a rather ordinary romance. Really, the only things keeping it from being lumped with the standard Nicholas Sparks fare are its talented director and his distinguished cast.
Though Reitman himself wrote the screenplay, he did so almost entirely without his signature wit. There are a few brief moments when his humor shines through, but those moments are surprisingly rare. And they’re replaced by some absolutely bewildering moments—like an uncomfortable pie-making scene that feels like a Cooking Channel parody of Ghost.
Fortunately, when the writing falters, the cast picks up the slack. Winslet gives it her all as Adele, quietly expressing her sadness and fear through the slightest of glances. Adele doesn’t say much; she’s barely spoken to anyone but her son in years, and they have such a strong bond that most of their exchanges are unspoken. But thanks to Winslet’s emotional performance, she doesn’t need lengthy monologues to convey her heartbreak and hope; she simply radiates it.
Brolin, too, makes Frank more than just the same old chick flick love interest. He’s both dangerous and thoughtful—the kind of guy who will threaten you before cooking you a hearty, homemade dinner. And there’s enough of an air of mystery about him that he’ll easily hold your interest and keep you wondering what he’ll do next.
Together, Winslet and Brolin charm their way through the film’s awkwardness, giving some extra credibility to an otherwise average romance. If you’re a fan of Reitman’s work, you’re sure to be baffled and even disappointed by his latest effort. But if you’re just looking for a romantic tear-jerker, Labor Day fits the bill.
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