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Hideous Kinky is the story of two sisters (seven and five years old) traveling with their hippie mother from London to Morocco. They encounter many adventures, new experiences, and ... See full summary »
A look at the lives of the strong-willed women of the Weston family, whose paths have diverged until a family crisis brings them back to the Oklahoma house they grew up in, and to the dysfunctional woman who raised them.
A depressed mother's husband has left her for she could not bear a second child. Living alone with her only son, she has an unlikely meeting with an injured escaped convict, and reluctantly takes him into her own care. The man proves to be better than his criminal image as the three bond over Labor Day weekend. The only problem? Everyone in town is looking for him.
The book that Kate Winslet reads in the movie is "Living the Good Life: How to Live Simply and Sanely in a Troubled World" by Helen K. Nearing and Scott Nearing. See more »
The Panasonic VHS VCR on the top of the TV did not exist in 1987 - it has a center deck style that was common in the late 1990s (e.g. it looks similar to Panasonic's PV-V4020 model that was made in 1999). VCRs of the time had a deck on the left-hand side and display on the right. See more »
It was just the two of us after my father left. She said I should count the baby he had with his new wife Marjorie as part of my family too. Plus Richard, Marjorie's son. For the most part my mother never mentioned my father, or the woman he was married to now.
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An art film, more focused on emotions and senses than story
Labor Day is an unbelievably gorgeous mood piece, a finely-tuned film which is strongly driven by senses and emotions over plot or story. It's arguably one of the best films of 2013.
I haven't seen a Reitman film since Juno so I haven't caught up. So I'm not sure where he matured from a 'good' director of a quirky script to an 'art' director who can carry an entire film on his shoulders. That's not to say everyone else in this film didn't do a great job. But the film works because of Reitman's meticulous vision.
Heavy use of cross-fades, editing driven by emotional undercurrent over logic, and some stream-of-consciousness flowing from a mysterious source. The music is avant-garde and beautiful, one moment eerie and unsettling, the next pleasant and lilting. Which reflects the way the film, like a piece of classical music, displays sudden shifts of mood or tonality, back and forth, requiring your utmost concentration and appreciation.
Writing too much else would spoil the fun. But the mindset you should bring this film, should you want to see it, is to give yourself over to the experience, rather than bringing an overly (and unnecessarily) critical mind to it's 'unoriginal' or 'uneventful' plot.
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