REVIEW: Labor Day

27 01 2014

London Film Festival

I’ve made no effort to hide my love of writer/director Jason Reitman. With each of his first four films, I’ve been impressed with his ability to push himself in terms of tone, characterization, and style. Reitman is the first director that I have followed critically since the beginning of his career, and I have truly enjoyed watching him evolve before my eyes.

His fifth feature, an adaptation of Joyce Maynard’s novel “Labor Day,” shows perhaps the biggest stride in his visual storytelling to date. The film boasts impressive atmospheric editing with some eerie impressionistic flashbacks. His sets and staging seem much more delicately composed here, as does the cinematography.

Yet with this step forward, the bedrock of his past films – the characters and the script – take two big steps back. The narrative is essentially stillborn, providing us with three high-strung characters but little accompanying plot tension.

Labor Day” is an odd fit for Reitman’s talents as shown by his previous films, although it’s hard to fault a director willing to go this far out of their comfort zone. The story follows the odd events in 1987 that unfold when the withdrawn Adele (Kate Winslet) takes her son Henry (Gattlin Griffith) to the grocery store … and they come back home with the escaped convict Frank Chambers (Josh Brolin). At first, they appear to be his hostages, but Frank and Adele fall into an odd romance that soothes the sores of their troubled pasts.

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