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LABOR DAY – News/reviews

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  • Beau S.
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    #110506

    Extremely positive word coming out of Telluride.
    Lots of praise for Winslet and Brolin.

    Post news, reviews, reactions, etc here.

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    SkyLight
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    Malick
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    #110509

    Rooting for this one. After the bizarre omission of Young Adult in 2011. fingers crossed for Brolin. Winslet needs to no luck shes extremely well liked.

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    CanadianFan
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    #110510

    “Labor Day”

    Jason Reitman assured the audience before the screening that this was a departure from his previous films, and he was right. Gone is the sardonic wit and biting sarcasm of his previous movies in exchange for an old fashioned tearjerker. Keeping my expectations in check, I was pleasantly surprised by this film. Winslet doesn’t have any Oscar scenes per se, because she is tasked with expressing her emotions through facial reactions a lot more than dialogue. Nonetheless, she should make the Golden Globe cut; Oscars, probably not. Josh Brolin, if he can be marketed as supporting (he’s kind of a co-lead), has a very meaty part akin to Daniel Bruhl in “Rush”. He is excellent as the manly man that middle-aged women will no doubt swoon over. The film itself is very well paced, but if you’re looking for realism, look elsewhere. These characters make decisions with their heart, and not their brain. Perhaps it is best to analyze the movie this way as well.

    This is a sweet love story. That it’s from the guy who brought us “Up In The Air” and “Juno” is surprising, but welcoming. Reitman has made a successful picture here, one that is altogether unique from his others. It’s not a great movie, but it’s certainly one that you can bring out on a rainy day to sit in front of the fireplace and be transported to a world where love transcends space and time.

    (B)

    As for its Oscar prospects, if this appeals to the same demographics as “The Blind Side” and “Extremely Loud and Incredibly Close”(and I have no reason to think other wise), this still has a shot, albeit a very small one. 

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    babypook
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    #110511

    “These characters make decisions with their heart, and not their brain.”

    Well well! My kinda characters!
    I care for only two of his films, Up in the Air and Thankyou for Smoking. His ‘biggish’ films Juno and Young Adult p’d me off. Lol. We’ll see. He’s young, he’s Canadian. So, I’ll wind up at the theatre.  He does have two directorial Oscar noms plus one for his “writing”, so it wouldnt surprise me to see him competitive.

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    CanadianFan
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    #110512

    Another thing — I’ve taken a lot of heat for suggesting that Julia Roberts could possibly be campaigned for supporting for A:OC (I’ll see the film again when it comes to theatres), but Josh Brolin has a similarly sized part, and everyone is slotting him into supporting.

    Just a thought. 

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    Carlo
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    #110513

    No trailer yet.

    Not released until Christmas Day, where it could end up being invisible..

    Am I the only one who thinks most of the awards sbunb will come maily due to a poor campaign?

    I think, being best actress so competitive this year, Winslet will sit out, but considering she’s Kate WInslet I would try to campaign hard.

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    AviChristiaans
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    #110514

    [img]http://www.awardscircuit.com/wp-content/uploads/2013/10/labor_day_ver2.jpg[/img]

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    AviChristiaans
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    #110515

    Labor Day had its world premiere at the BFI London Film Festival during the weekend, and reviews are mixed to mildly negative for the film, but stellar and good for Kate Winslet.

    Labor Day, review
    Jason Reitman’s new film Labor Day has craft, care, and sensitive performances from Kate Winslet and Josh Brolin. So why does it feel so counterfeit?

    By

     

     

    Dir: Jason Reitman. Stars: Kate Winslet, Josh Brolin, Gattlin Griffith

     

    There’s craft, care and sensitivity in every frame of Labor Day, so why does the film feel so counterfeit? It’s a puzzle. Writer-director Jason Reitman has form with a snarky teenage point of view in Juno, and a wearier adult one inUp in the Air – films whose common ground is perhaps their melting veneer of cynicism, with proudly exposed heart beneath. Here, adapting a 2009 novel by Joyce Maynard, he lapses instead into a sun-kissed emotional monotone, and more or less sets up camp. Dreamy sincerity is the effect he’s going for, but there are only so many baseball games in magic-hour light, trailer-ready montages of cosy household ritual, and fragmentary flashbacks of one character’s mysterious past a movie can peddle before you start to wonder if it’s for real.

    We could talk about Kate Winslet, whose role as Adele, a depressed, divorced single mom in mid-Eighties New Hampshire, is another finely played entry in her growing range of unhappy homemakers – the same catalogue with Little Children and Revolutionary Road on previous spreads. Josh Brolin’s more than respectable as an escaped convict, Frank, who calmly but firmly demands Adele and her teenage son Henry (Gattlin Griffith) let him hide out in their delightfully appointed home, which does not look for one moment as though a depressed single mom has been keeping it in order.

    Frank, in what’s initially meant to be a one-night stay, still finds plenty of handyman duties to let him flex his sizeable biceps around the place – fixing a loose floorboard here, a squeaky door there, indulging in a bit of shirtless ironing. And wait till you get a load of his peach pie. In the movie’s blissed-out, inescapably ridiculous centrepiece, he teaches Adele and Henry how to stew a heap of ripe fruit and roll out pastry, with just the right amount of seasoning (a “salty crust” is crucial). When he guides Adele’s hands onto the rolling pin, you expect Unchained Melody to pipe up at any moment. “Help me put a lid on this house,” he tells them pointedly when the top’s going on.

    Griffith is also very impressive. But it’s strange how little their combined efforts actually help. The film’s inches away from starring Zac Efron and Taylor Schilling: though pristinely faithful to Maynard’s book, it blurs inexorably into Nicholas Sparks. Time for this trio is meant to stand still, and so it does – even Frank’s first day establishing his perfect stepdad credentials is stretched out to feel like months. When the three decide to make a run for the Canadian border, they take half the movie to get their act together, and though the tension of their hoped-for escape briefly rouses us from a pudding-induced coma, it’s too late.

     

     

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    Baby Clyde
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    #110516

    Got stuck at work last night and had to miss this

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    Beau S.
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    Beau S.
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    #110518

    Second trailer: http://www.youtube.com/watch?v=3AhKaOgrQOs

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    Gabriel
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    #110519

    This looks interesting, but I read a review that said it plays out like a Nicholas Sparks film, so now I don’t know what to think. I like Jason Reitman’s work, so I hope I like this.

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    allabout oscars
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    #110520

    i love KATE WINSLET.
    having said that, this film looks
    ordinary at best…unless there is a
    twist to throw us all for a loop.

    Reitman makes good films..has a nice style
    and writes well…but this looks minor.

    kate seems to be channeling a bit of
    REVOLUTIONARY ROAD mixed with
    LITTLE CHILDREN.. which isnt a bad thing
    for me…

    I am thinking no nominations for this film

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    Greg A.
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    #110521

    Funny that her last name is WHEELER again.

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