The love story is really what drives Jason Reitman’s beautifully rendered film Labor Day, which stars Kate Winslet and Josh Brolin, from the novel by Joyce Maynard. Structure is key to the whys and hows of the plot. It might baffle a few waiting to see the usual formula unfurl. The timeline in this film is especially important, which you will (hopefully) discover when you see it. Don’t go in expecting Drive.
Reitman has pushed past many of his own limitations here, erasing the snark and the sarcasm. In its place, raw sentimentality that feels inevitable to an artist willing to step outside his comfort zone and take a risk. Both Reitman and Alexander Payne have, this year, really done what is much more difficult than delivering snark. Facing true emotion head-on ain’t easy. Facing the truth about the human experience, harder still.
But Labor Day is not a film, I don’t think, for the usual voices that dominate the film blogging scene. Fans of Reitman’s earlier work will want him to stay in that mode, like the Scorsese fans who only want to see Goodfellas or the Fincher fans who only want to see Fight Club. Reitman has gone beyond his reliance on having a joke for everything, where his characters never have to really feel anything very deeply or for long. That has changed with Labor Day.