{"id":1877,"date":"2012-02-18T11:48:39","date_gmt":"2012-02-18T11:48:39","guid":{"rendered":"http:\/\/filmgaze.com\/blog\/?p=1877"},"modified":"2012-02-18T11:48:40","modified_gmt":"2012-02-18T11:48:40","slug":"extremely-loud-and-incredibly-close","status":"publish","type":"post","link":"https:\/\/filmgaze.com\/blog\/drama\/extremely-loud-and-incredibly-close\/","title":{"rendered":"Extremely Loud and Incredibly Close ***"},"content":{"rendered":"

\"\"<\/a>There was understandably some surprise when Stephen Daldry<\/a>\u2019s latest film, Extremely Loud and Incredibly Close<\/em><\/a>, was nominated for Best Picture at this year\u2019s forthcoming Oscars, but given Daldry\u2019s previous nomination success with the likes of The Reader<\/em> and Billy Elliot<\/em>, it\u2019s not completely shocking either.<\/p>\n

Indeed, the Academy likes an inspirational tale born out of hardship and woe \u2013 just look at 2009\u2019s Award-winning The Blind Side<\/em>. That said while some will argue that this film borders on exploitation by using 9\/11 events and imagery to bolster any worthiness, it\u2019s still ultimately deeply affecting as it tries to make sense of an emotive subject through a young boy\u2019s eyes that’s so senseless in a unique and poignant manner.<\/p>\n

Fans of Jonathan Safran Foer<\/a>\u2019s 2005 novel of the same name may beg to differ, but as a beautifully shot, standalone film, the acting is so impressive from newcomer Thomas Horn<\/a> as 11-year-old Oskar, carrying a myriad emotions on very young and capable shoulders, regardless of obvious irritable character traits along the way.<\/p>\n

Young Oskar shares a fun and adventurous side with his doting father Thomas (Tom Hanks<\/a>) who gives him puzzles and adventure trails to solve. But on 9\/11, Oskar\u2019s idyllic and loving world comes crashing down, and he is left without his number one fan and living with his grieving mother (Sandra Bullock<\/a>), who he feels remote from. After looking through his late father\u2019s things one day, he discovers a key in an envelope labelled with the name \u2018Black\u2019. Believing this is one last quest set by his father Oskar goes on an adventure to track down the lock that fits the key, enlisting the help of his grandmother\u2019s mysterious \u2018Renter\u2019, a mute old man (played by Oscar-nominated Max von Sydow<\/a>).<\/p>\n

Using actual, harrowing footage of the Twin Towers in the film is a bold and some might say insensitive move by Daldry, and it is debatable whether one shot involving Bullock looking out at the devastated Towers was necessary at all \u2013 never mind the \u2018falling man\u2019 imagery. Although any other horrific event like a fatal car accident could trigger the same level of grief and deeper questions in a child, Foer\u2019s story is as a result of 9\/11 events.<\/p>\n

Perhaps, as Oskar is such an intellectually curious and sensitive child \u2013 possibly having Asperger syndrome, the trigger of a greater, more unifying event is rendered necessary still in the film version, and nothing about this adaptation is ever allowed to be a \u2018comfortable\u2019 viewing experience either \u2013 it\u2019s a stark coming-of-age account. Both young and old in this actually have the same unifying fear to conquer and healing process to go through, which is precisely why it strikes a chord, pulling it out of the usual troubled youth salvation film.<\/p>\n

Although the adult players in this perform solidly on the peripheral as expected, allowing a capable Horn to take centre-stage, sadly there are times when your sympathies for the boy character wane as he ventures down the quirky, oh-so-convenient \u2018special kid\u2019 route to suggest he is more extraordinary than any other child who experienced lost at the time. Nevertheless, it is a refreshing change \u2013 away from the PlayStation generation \u2013 to see imagination let rip in a satisfying little adventure that simultaneously highlights the life and soul of those who make up the Big Apple. Indeed even though his mother\u2019s tidy explanations at the end seem a little incredulous, these still feel a necessary part of the family\u2019s healing process after Oskar\u2019s crueller outbursts. There are elements that do not quite translate, such as why Oskar\u2019s grandmother does not reveal the true identity of \u2018The Renter\u2019 to start with that require a suggestive take on the viewer\u2019s part, but could also be deemed another ‘sub-mystery’ to solve.<\/p>\n

Although watching this film will prove shamelessly premeditated and excessive at times while tragic and heartfelt at others, its mixed bag of finely balanced emotions do not fail to move you on the whole \u2013 rather disappointing, tear-jerking ditch ending aside. Above all else, an intrepid Daldry has undoubtedly delivered an exciting prospect for tomorrow to watch in Horn, earnestly cutting his teeth in a highly controversial first project.<\/p>\n

3\/5 stars<\/strong><\/p>\n

By @FilmGazer<\/p>\n

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