out of 100
Metascore®Mixed or average reviews Based on a weighted average of all critic review scores.
A sample of reviews from critics across the country.
Reitman keeps a strong grip on all the aspects of the story to prevent it from becoming corny, unduly melodramatic or obvious.
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Labor Day is an admittedly strange hybrid. Rarely have I seen such outrageous plot points executed with such lovely grace.
The film finds its footing as the weekend progresses and the temperature and tension — outside and in — rise.
To the extent that Adele’s hunger for affection resonates with audiences, what emerges is a powerful — if implausible — romance.
You can love the look of the movie and still not believe a single word of it. To be fair, the climax is surprisingly touching; somehow, the residents of this cooked-up tale manage to earn our pity and support.
With his latest film, the mawkish and melodramatic Labor Day, Reitman has done an unexpected about-face: He's ditched Wilder for Douglas Sirk. And the swap doesn't do him — or his fans — any favors.
Kate Winslet has such sound and reliable dramatic instincts (That Face doesn't hurt, either) she very nearly makes something of Adele.
Labor Day feels like a belabored, sappy slog.
Labor Day, adapted from a novel by Joyce Maynard, is the kind of movie that turns clarity into stultification; everything is perfectly clear and almost everything — pie-making excepted — is perfectly lifeless.
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Pie me up, pie me down.
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