Labor Day Review

Rated PG-13 (Thematic Material, Brief Violence and Sexuality)

Running Time: 1 Hour & 51 Minutes

Cast-

Kate Winslet-Adele Wheeler

Josh Brolin-Frank Chambers

Gattlin Griffith-Henry Wheeler

Clark Gregg-Gerald

Brooke Smith-Evelyn

J.K. Simmons-Mr. Jervis

James Van Der Beek-Officer Treadwell

Brighid Fleming-Eleanor

Alexie Gilmore-Marjorie

Lucas Hedges-Richard

Micah Fowler-Barry

Tom Lipinski-Young Frank Chambers

Maika Monroe-Mandy

Tobey Maguire-Adult Henry Wheeler

Directed by Jason Reitman

Adele: I can't give you a family. Frank: You already have. Cue tears.

Note: Screened on Tuesday, January 28, 2014 at AMC Loews Lincoln Square 13.

Even critically-acclaimed directors have their off days too. Prior to 2005, Jason Reitman was primarily known as 'the son of the guy who made Ghostbusters' (that's Ivan Reitman, for those of you wondering) but everything changed when he premiered his directorial debut film, "Thank You for Smoking," at the 30th Toronto International Film Festival. Based on Christopher Buckley's 1994 satirical novel of the same name, the picture was a wryly humorous and insightful look at the multi-billion dollar tobacco industry through the eyes of a smooth-talking lobbyist, played by a devilishly charming Aaron Eckhart. It received positive reviews from critics (86% on Rotten Tomatoes) but Reitman was only getting started. Teaming up with stripper-turned-writer Diablo Cody, 2007's "Juno" once again found the up-and-coming director mixing clever humor with heartfelt drama. Featuring a career-defining performance from Ellen Page, this coming-of-age film—about a sharp-tongued, independent-minded teenager forced to confront her own unplanned pregnancy—went on to achieve critical acclaim (94% on Rotten Tomatoes) and won an Academy Award for Best Original Screenplay. Refusing to rest on his laurels, Reitman continued to impress critics with 2009's "Up in the Air" and re-teamed with Cody for 2011's "Young Adult." In just six years, he established himself as a unique voice in Hollywood that was far removed from the shadow of his father's cinematic legacy. Given his amazing track record so far, it's doubly disappointing to see him make a rare misstep with his fifth feature, "Labor Day." Kate Winslet and Josh Brolin deliver solid performances but even their considerable talents are unable to salvage "Labor Day," with Reitman's adaptation of Joyce Maynard's 2009 best-selling novel easily ranking as his worst film yet due to the way he drowns the material in mawkish sentimentalism and cheesy, soap opera-like melodrama.

During a voiceover narration, an adult Henry Wheeler (Tobey Maguire) recalls how his mother Adele (Kate Winslet) fell into a crippling depression after his father Gerald (Clark Gregg) walked out on them. However, it wasn't losing her husband that broke her heart but rather 'losing love itself.' While reminiscing about his youth in his former hometown of Holton Mills, New Hampshire, Henry recounts a particularly hot Labor Day weekend in 1987 where his thirteen-year-old self (Gattlin Griffith) accompanied his mother—who is now struggling with severe agoraphobia—on her monthly pilgrimage to the local discount store. As Adele nervously shops for clothes and supplies, Henry peruses a nearby comic book rack but he is soon interrupted when an imposing stranger bleeding from his abdomen approaches him. Gesturing toward the boy's mother, the stranger remarks that 'she looks like the kind of person that can help me' and asks if she can give him a ride. Although Adele is resistant, she is forced to relent when the stranger—revealing his name to be Frank Chambers (Josh Brolin)—makes a veiled threat toward her son. Arriving at the Wheeler home, Frank discloses that he's a convict who escaped from the prison hospital while recovering from an appendectomy. He assures the family that he only wants to hide for a few hours and has no intention of hurting them. With the media and local cops on the hunt for Frank, the imposing yet handsome stranger quickly makes himself useful by performing various chores around the house and even begins cooking for the Wheelers. Having been alone for so long, Adele gradually falls in love with Frank while Henry begins to look up to him as a father figure. Knowing that their makeshift family cannot last if they remain in Holton Mills, Adele decides to take her son and run away with Frank to Canada but fate unfortunately, has other plans for them.

Jason Reitman's résumé may not be as extensive as his father's (who, to be frank, has mellowed out in recent years) but the thirty-six year old filmmaker has already proven himself to be one of Hollywood's top directors with four critically-acclaimed features. While there's no doubt about his talents behind the camera, it still doesn't change the fact that Reitman's latest effort, "Labor Day," is a misfire all around. Given its positive reception, I'm not surprised that Paramount Pictures wanted to adapt Joyce Maynard's 2009 novel for the big-screen but they hired the wrong man for the job. Although Reitman's previous films had a dark dramatic edge to them, it's often balanced out by a quirky sense of humor. I understand he wanted to branch out and helm a more serious-minded drama. Unfortunately, he falls flat on his face here with a hokey premise that seems like it was lifted from the daydreams of a lonely housewife. In fact, the story here isn't that far removed from the cheap 'bodice ripper' novels that line the shelves of your local supermarket. At first glance, "Labor Day" appears to be a psychological thriller where Adele and her son Henry Wheeler suffer a serious case of Stockholm syndrome and comes to care for their captor, who presents a façade of being 'a good man.' The opening scenes seem to support this as Frank ominously warns Adele that 'this needs to happen' while gripping her son's neck. Once he arrives at their house, he assures the family that he means no harm. However, if someone were to come by, it'll have to look like he kidnapped them and so he ties Adele to a chair, which Reitman shoots in an oddly sensual manner. This is where the film takes a strange turn as Frank starts rummaging through the kitchen to make chili. Grabbing a small bowl, he gently blows on each spoonful before slowly slipping it into Adele's mouth. Man, you can smell the sexual metaphors from miles away. Once it becomes apparent that Frank really is just an escaped convict with a heart of gold, "Labor Day" settles into Nicholas Sparks territory and reaches its nadir when he teaches the Wheelers how to bake a peach cobbler pie. As Christy Lemire humorously describes it in her review, 'he insists that all three of them get in there, plunge their hands inside, let their fingers intertwine, squish it all around.' It's pretty much, as Slate's Dana Stevens notes, the 'culinary equivalent of the iconic pottery-wheel scene in Ghost.' I'm sure the women in the audience got all hot and bothered as Frank's manly hands dug deep into that ooey-gooey pie mix but it was at this point where I just couldn't take the film seriously anymore.

To be fair, "Labor Day" isn't a complete disaster as there are some tender moments that touch on the fleeting nature of love and how the loss of it can emotionally destroy a person. Rather than explore that further, Reitman instead drowns his script with soapy melodrama as Frank transforms from a convict on the run to literally the perfect husband. In addition to cooking, he replaces the oil in Adele's car, changes the filter on the furnace, gets the squeak out of the kitchen door, and even teaches Henry and the disabled kid next door how to throw a baseball. There are flashbacks scattered throughout the film that slowly reveal Frank's tragic past but they feel disconnected from the main story. Other than saying that he's never intentionally hurt anyone in his life, he never directly addresses to Adele why he was jailed in the first place. Likewise, Henry's coming-of-age is little more than an afterthought. We're shown that he's starting to have sexual thoughts and there are subtle Oedipal undertones with the way he behaves around his mother but all of it is quickly swept aside. There's also a wayward girl named Eleanor (Brighid Fleming) that catches Henry's eye yet their scenes feel like they belong in an entirely different film. I will admit that thanks to Rolfe Ken's score, the last fifteen or so minutes of "Labor Day" are rather tense as Adele is forced to divert the attentions of a too-helpful cop (played by James Van Der Beek) and is later stonewalled by the bank's staff when she tries to withdraw all her money from her account. The cinematography from longtime Reitman collaborator Eric Steelberg is gorgeous as well and on the whole, this is a handsomely-mounted production. It's just a shame that it's wasted on a film that favors treacly Nicholas Sparks-level sappiness over honest poignancy.

In spite of its misguided plot, Kate Winslet and Josh Brolin manage to deliver compelling performances. Winslet in particular radiates sadness as the long-suffering Adele and you really do sympathize with her character as she slowly comes out of her shell. There's one scene in particular where Adele is about to drive to the pharmacy to get Frank medicine as his wound had become infected but she freezes in the car, unable to move. Pulling the key out of the ignition, Frank asks her what's wrong and Winslet just pours her heart out as Adele reveals why she become depressed and that she can't give him the family he wants. It's an emotionally-charged moment that belongs in a much better film. Brolin isn't quite up to the level of Winslet since he's basically pigeon-holed into playing a sensitive hunk but the actor takes his role seriously and manages to give Frank some measure of depth even though Reitman's script actively works against him. His rugged features are also an advantage, allowing Brolin to come across as dangerous yet sensual at the same time. Former child actor Gattlin Griffith (from 2008's "Changeling") is solid as Henry and succeeds in holding his own against two very accomplished actors. However, his character recedes into the background a little too often despite the story being ostensibly told from his point-of-view. Rounding out the rest of the cast is Clark Gregg as Adele's former husband, J.K. Simmons as a friendly yet nosy neighbor, James Van Der Beek as an overly-helpful police officer, and Tobey Maguire as an adult Henry Wheeler who provides voiceover narration for the film.

Released on January 31, 2014, "Labor Day" has received largely negative reviews with 32% on Rotten Tomatoes, which is a far cry from Reitman's previous work. Critics noted that 'Kate Winslet and Josh Brolin make for an undeniably compelling pair, but they can't quite rescue [the film] from the pallid melodrama of its exceedingly ill-advised plot.' Although initial marketing campaigns positioned it as a possible contender at this year's Academy Awards, tepid reception at the Telluride and Toronto International Film Festivals led to Paramount Pictures quietly moving the film to the January graveyard. Winslet, however, did garner an out-of-the-blue Golden Globe nomination for Best Actress but it seemed more like an attempt by the Hollywood Foreign Press Association to have another famous face on their awards show. Box office-wise, "Labor Day" bombed and has only grossed a paltry $14.4 million worldwide so far. Look, it's a given that Jason Reitman, Kate Winslet, and Josh Brolin will go on to make better films in the future, meaning that by the end of the year, "Labor Day" will be nothing more than a vaguely-remembered footnote in their careers.

Final Rating: 2.5 out of 5

Adele Wheeler: I can't give you a family.

Frank Chambers: You already have.