Extremely Loud and Incredibly Close

Mirroring the media obsession with the terrorist attacks that resounded around the world over the past decade, the film industry has attempted to capture the catastrophic events on screen. From World Trade Centre to 11'09"01 September 11, cinema has contemplated the incident and the aftermath, as also evidenced in United 93 and Reign Over Me. Based on Jonathan Safran Foer’s 2005 novel Extremely Loud and Incredibly Close is the latest to focus on that fateful day. Chronicling the personal consequences, the feature explores the influence of the tragedy on an 11-year-old boy.

Curious and inquisitive Oskar Schell (debutant Thomas Horn) thrives under his father’s (Tom Hanks, Larry Crowne) guidance but feels distanced from his mother (Sandra Bullock, The Blind Side). When the former perishes in 2001, Oskar struggles to cope, obsessing over a hidden key that may just be his dad’s last message. Determined to find the lock that it fits, he devises a quest to uncover its meaning. Accompanied by his grandmother’s mysterious tenant (Max von Sydow, Robin Hood), Oskar traverses New York to solve the puzzle.

Resembling Martin Scorsese’s Hugo in story but not substance, Extremely Loud and Incredibly Close is the fourth feature from Billy Elliot, The Hours and The Reader director Stephen Daldry. Accordingly, it continues his earnest and emotive approach, with the two traits epitomised by the film’s youthful protagonist. Alas, another pair of descriptors is also apt: precocious and pretentious. As a result, the articulate offering is obvious in its desperation to connect, however its overt manipulation fails to leave a lasting impression.

Indeed, the intense but overemphasised effort languishes under the weight of inflated self-importance stemming from the serious subject matter. Whilst littered with moving moments, it feels artificial rather than authentic, and trying instead of tender. Although impeccably captured by cinematographer Chris Menges (Stop-Loss), the exaggerated subjectivity is aesthetically impressive but ineffective. Consequently, the feature abounds with inconsistency between fruitful and futile elements.

Similarly, the performances vary from standard to sublime. Too much is asked of the inexperienced lead, whilst the film’s big names play to type. However, Sydow deserves his acclaim in the feature’s best display of nuance, and Viola Davis (The Help) steals the spotlight in a small number of scenes. The mixed efforts of the cast embody the well-meaning but oppressively melodramatic and maudlin rendering of the impact of September 11 that is Extremely Loud and Incredibly Close.

Rating: 2.5 out of 5 stars

Extremely Loud and Incredibly Close
Director: Stephen Daldry
USA, 2011, 129 min

Distributor: Roadshow
Rated TBA
In cinemas Thursday 23 February 2012