Excerpt: Following last year’s bizarrely tone-deaf adaptation of Joyce Maynard’s ‘Labor Day,’ Reitman’s latest is a peculiarly alarmist ensemble piece about how, in spite of our copious technology, we’re all just so disconnected, man. When Reitman burst on the scene with ‘Thank You for Smoking’ back in 2005, he seemed bent on making another ‘Dr. Strangelove’; based on his new picture, he’s apparently spent those years harboring the desire to make another ‘Crash.’
Excerpt: I didn’t like this movie when it was called “Disconnect,” and cowriter/director Jason Reitman’s (“Juno,” “Labor Day”) adaptation of Chad Kultgen’s novel lays on pretension masquerading as deep thought for an even less convincing mix
Excerpt: Future Reitman analysts will have his early period to begin their dissections and then will move on to his films which feel aimed at his neighborhood Rotary Club, which feels like the only demographic Reitman will end up scaring here.
Excerpt: Critically, “Labor Day” was unfairly mocked because it was filmmaker Reitman in a different, more earnest mode, many claiming that he was losing his way and his spiky edge. Correction: “Men, Women & Children” is his first miscalculation.
Excerpt: Given the fact that Men, Women & Children has a kind of a forest-for-the-trees thing happening, it’s not surprising that some details are lost in the earnest pursuit of so many others. The problem that co-writer and director Jason Reitman has, though, isn’t that he can’t see the forest, it’s that he thinks he does, and he ignores the good trees within it by trying to have it all