“LABOR DAY” ***
Under dangerous situations, a man suddenly arrives at a family’s home, intervening in the lives of a mother and her son. He’s a wounded fugitive who escaped from prison where he serves a long sentence for a double homicide, lucky enough to earn these people’s compassion demonstrating care for him. Time seems to be harmful for him, yet his presence is fundamental as the moderator whose previous actions and behavior cause a decisive reaction on the hosts, and as they develop an intense connection, things start to change and evolve, affecting them for the rest of their lives on that hot Labor Day weekend.
As he becomes the source of comfort and love reconnection for the lovely and attractive woman whose husband’s switched her for his secretary, he also embodies the father figure the kid longs for, inspiring the boy to understand life, and his real father’s absence. Local authorities are on the hunt for him, while neighbors keep their eyes wide open, elevating the risks they take once they decide keeping the fugitive. But as it pushes them into anxiety and extra precautions, it also allows them to experience fulfillment and joy, learning from each other, as they share precious, tender and ordinary moments.
First scheduled to open on Christmas, the producers were smart enough to give up on the Oscar Race pushing this romantic Summer-set family-tale to Valentine’s season, betting on better results with audiences looking for a film with their lovebirds.
In his 5th feature film, 4-times Oscar Nominated writer-director Jason Reitman, shows a different style, a sensible side that hasn’t been practiced in his previous works. Even in modern social studies such as great films as “Thanks for Smoking”, “Juno”, and “Up In The Air”, this brilliant and talented young filmmaker has never looked so deep into a love story. His fresh comedic skills and sarcasm have granted him the status of a promising and celebrated young American director, and he has examined relationships and (broken) families before, but this is a deeper look at the subject, studying bitter emotions with a charismatic and sensitive coordination. At some times the film breathes the sensibility of great American filmmakers, when they decide making dramas such as Spielberg or Eastwood. Kate Winslet and Josh Brolin are very comfortable on their roles with powerful chemistry, while the young Gattlin Griffith conquers the audience’s heart as the kid Henry, also the narrator of the story.
Although the narrative takes a while to create enthusiasm and coherence, it finds its rhythm, going through simple matters to indicate the future, punctuating the tension of the storyline, and dividing the interest in three: three souls in search of themselves, the fugitive running for the truth and wasted time, the mother giving life and love another chance, and the kid who’s experiencing the wonders and confusions of coming-of-age. Sad and beautifully produced, the film shows the unknown aesthetics of a genius filmmaker through the links of accepting new chances and unusual encounters.
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