Juno's Jason Reitman (son of Ghostbusters' Ivan) takes a darker turn with this tale of troubled romance. His signature, pared-back tone that made the George Clooney collaboration Up In The Air such a thoughtful treat remains; missing is the playfulness. He's adapted Joyce Maynard's seductive novel about, well, seduction as viewed, largely, by a small town, teenage boy. This is bleaker territory buoyed by unexpected romance, one where humour, much less laughter, is scarce.

Henry (Gattlin Griffith - Changeling) has stayed to look after his troubled mother Adele (Kate Winslett – Revolutionary Road) when her anxieties and mood swings became too much for the boy's father. But lurking in his mother's anti-social, depressive ways, Henry senses hope. The spark ignites in an unlikely way when Frank, (Josh Brolin – No Country For Old Men), an escaped convict, effectively takes them hostage while he recuperates. Hidden in their home, an unusual and highly inter-dependent relationship develops, for despite his sentence, Frank is not a violent man.

Winslett's outstanding performance earned her a Golden Globe nomination. More than body tics and down cast eyes, she fulfils Adele's poor mental health with her entire being. And rather than offer up a mere Oscar baiting turn, she makes room for the cast to be in their own right, and enhance Adele rather than shrink from her. It's quite extraordinary. Brolin is a perfect counter point, all manly strength and understanding as Frank assumes the household's vacant position.

As Henry's older, reflective self, Toby Maguire (The Great Gatsby) provides the film's ongoing narration before appearing in a largely unnecessary, loose-end tying coda. It's a distracting (contractually obliged?) effect that brings nothing of value to the story. Instead it adds to a whisper quiet sense of compromise that lurks throughout Labor Day, one that gently diminishes the distinct voice which has marked Reitman's work to date.

While Labor Day does lack a vivid originality, it distinguishes itself with exceptional performance and an unusual approach to the mother-in-peril hostage-drama you might expect. In fact you might expect a young River Phoenix to do a walk on, it has that kind of agreeable, old-school touch. And while that doesn't enable the film to catch fire, at least it keeps the potential for melodramatic corn at bay. The result is a very polished, very seductive couple of hours at the movies. Just don't expect them to be very playful.

// COLIN FRASER

Previewed at Paramount Theatrette, Sydney, on 14 January 2014