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Richard Corliss, TIME Magazine: Suddenly Labor Day is not a movie but a Harlequin book cover, and Frank is a felonious Fabio. Read more
Owen Gleiberman, Entertainment Weekly: I'm all for sincerity in filmmaking, but the quality that has defined Reitman's best movies - Up in the Air, Juno, and Thank You For Smoking - is audacity, and he really needs to get that back. Read more
Lou Lumenick, New York Post: [A] small-scale gem. Read more
Rex Reed, New York Observer: A wrenching, riveting and richly rewarding experience at the movies. Read more
Joe Morgenstern, Wall Street Journal: The kind of movie that turns clarity into stultification; everything is perfectly clear and almost everything-pie-making excepted-is perfectly lifeless. Read more
Peter Debruge, Variety: To the extent that Adele's hunger for affection resonates with audiences, what emerges is a powerful -- if implausible -- romance. Read more
Ben Kenigsberg, AV Club: Suggests the experience of being pelted with a thousand supermarket paperbacks at once. Read more
A.A. Dowd, AV Club: It's a mostly colorless weepie, aiming for the mythic power of a Great American Novel, but achieving dramatic vagueness instead. Read more
Bill Goodykoontz, Arizona Republic: Ever wonder what one of those Lifetime weepers would look like with a bigger budget and more talent? Read more
Jocelyn Noveck, Associated Press: It's hard not to feel that this movie could have been so much better than it turned out. Read more
Ty Burr, Boston Globe: The movie's a very somber affair, but if you see it in a disrespectful frame of mind, it's the guilty-pleasure hoot of the season. Read more
J. R. Jones, Chicago Reader: Even as a bodice-ripping fantasy it's pretty compelling: Winslet knows how to play hunger, Brolin is handsome and sincere, and writer-director Jason Reitman shows a none-too-common restraint in never showing the characters in bed. Read more
Michael Phillips, Chicago Tribune: We're left with some first-rate actors doing what they can to fill every sensually fraught glance with trace elements of human character. Read more
Peter Rainer, Christian Science Monitor: Engagingly sappy. Read more
Joy Tipping, Dallas Morning News: In compressing Maynard's deeply internal book into the necessarily visual film format, Reitman strips the story of nearly all of the book's barely repressed sexual heat, and hence most of its impact. Read more
William Goss, Film.com: As consistently assured a piece of filmmaking as any we've seen from Reitman. Read more
Wesley Morris, Grantland: Wherever he seemed to be headed after Up in the Air and Young Adult, it's a shame to see him responsible for a movie so flavorless and that makes so little sense. Read more
Todd McCarthy, Hollywood Reporter: A nuanced, superbly acted love story with a most unusual genesis. Read more
Betsy Sharkey, Los Angeles Times: If you can get past the past, which I recommend, what is left is a lovely, intimate film about longing and love. Read more
Amy Nicholson, L.A. Weekly: The plot of Labor Day would make a great Upworthy article. Let me suggest a title: "I Never Thought I'd Want My Mom to Love a Murderer Until I Met This Bloody Hunk." Read more
Tony Hicks, San Jose Mercury News: Reitman ... has made a film that is unapologetic in its aim to rip your heart from your chest. And "Labor Day" does just that. Resistance is futile. Read more
Connie Ogle, Miami Herald: Labor Day is the sort of movie where the characters are all extremely watchful: They shoot worried glances at each other but don't demonstrate much good sense. Read more
Rafer Guzman, Newsday: The romance develops so suddenly (note the three-day weekend of the title) that we never quite believe it, and several murky flashbacks suggest a twist that never satisfactorily arrives. Read more
Anthony Lane, New Yorker: It looks swell, and Winslet adds another portrait of pained watchfulness to her gallery of suffering heroines, but the result feels like a richly implausible dream disguised as a soulful drama. Read more
Stephen Whitty, Newark Star-Ledger: While "Labor Day" isn't the stuff of blockbusters, or Oscar juggernauts, it is a simple, adult romance, made for grownups by grownups, about love and second chances. Read more
Elizabeth Weitzman, New York Daily News: The credits say "Labor Day" was written and directed by Jason Reitman from Joyce Maynard's novel. But that must be a mistake, because surely this is a Nicholas Sparks movie? Read more
Stephen Holden, New York Times: "Labor Day" seems designed for the crowd that devours Nicholas Sparks's romantic daydreams. Read more
Michael Sragow, Orange County Register: This hostage drama swiftly degenerates into a gauzy wish fulfillment about two outsiders finding each other in a love that must overcome boundaries, separation and time. Read more
Steven Rea, Philadelphia Inquirer: It is a yarn. But it's so full of passion, poetry, and humor that it becomes, for the time, quite real. Read more
James Berardinelli, ReelViews: "Labor" isn't just a word in the title of Jason Reitman's new film, it's a description of what it feels like to sit through the movie. Read more
Richard Roeper, Richard Roeper.com: Writer/director Jason Reitman continues his string of first-rate filmmaking. Read more
Christy Lemire, RogerEbert.com: It's hard to tell what Reitman-who also wrote the script, based on the novel by Joyce Maynard-intended here. Read more
Peter Travers, Rolling Stone: Nothing against Kate Winslet, Josh Brolin and director Jason Reitman - top talents all - but my goodwill drowned while trying to swallow this treacly cocktail of romantic swill. Read more
Mick LaSalle, San Francisco Chronicle: "Labor Day" is a film of many faults. Yet even if we never fully believe in Adele and Frank, we end up caring about them, and that's some kind of achievement. Read more
Colin Covert, Minneapolis Star Tribune: "Labor Day" is a generic slab of escapist romantic Velveeta from, of all people, sharp-witted Jason Reitman. Read more
Joe Williams, St. Louis Post-Dispatch: This confounding film might be too roughly textured for mass consumption, but for audiences who aren't bound by expectations, the labor of chewing it over will be rewarded. Read more
Christopher Orr, The Atlantic: The story unfolds with an earnestness so implacable that on the rare occasions when a bit of humor sneaks into the proceedings it feels like an uninvited party guest. Read more
Liam Lacey, Globe and Mail: Mush [that] comes with an unappetizing side order of condescension and contempt. Read more
Peter Howell, Toronto Star: You know a movie is in trouble when you spend most of its running time wondering why on Earth the director wanted to make it. Read more
Alonso Duralde, TheWrap: If Labor Day teaches us anything, it's that the line between a prestige-soaked year-end awards bait movie and a Lifetime original with a title like My Captor! My Lover! is blurry at best. Read more
Cath Clarke, Time Out: If you have even the tiniest cynical bone in your body, avoid. You'll find Labor Day more sugary than a cronut. Read more
Joshua Rothkopf, Time Out: The two leads do what they can with the sentimental material; it's almost a miracle that neither turns red with embarrassment (though this isn't going first on their clip reels). Read more
David Edelstein, New York Magazine/Vulture: It's so terrible it's amazing. Read more
Ann Hornaday, Washington Post: It's difficult to believe a word of "Labor Day," but then again you don't have to in order to luxuriate in Winslet and Brolin's bubbling, steaming chemistry. Read more