Some people think that if a movie makes them cry, then it automatically makes it a good movie. They don’t think of it in such black and white terms--it’s something that happens subconsciously. They sit through the film, they cry their eyes out, and then once the film is over and they’re emotionally drained, all they’re able to focus on afterwards is what a wonderfully emotional experience they just went through. If I were to judge ‘Extremely Loud & Incredibly Close’ by such a shallow, vapid rubric, then it would be a phenomenal film. Unfortunately, it’s the kind of film that is overflowing with emotional manipulation to such an extent that I felt extreme resentment towards the filmmakers, and anyone remotely involved for that matter, for using such a heavy subject for easy tears.

‘Extremely Loud & Incredibly Close’ tells the story of Oskar Schell (Thomas Horn), an eleven-year old whose father (Tom Hanks) died in the World Trade Center on 9/11. A year after what he calls “the worst day”, Oskar finds a mysterious key in his father’s room, and sets out on a journey to find the lock the key opens. Based off Jonathan Safran Foer’s acclaimed novel by the same name, it’s evident right from the get-go that this story is one that translates much better on paper than it does on screen. Oskar is certainly an interesting character and worthy narrator (though I’m sure his mannerisms will drive some people crazy), but his trips all around New York City are mostly uneventful and are often accompanied by voice-overs to constantly bring us into Oskar’s psyche, making everything feel all the more forced. Thomas Horn, with his velvety-smooth voice, plays the precocious, oddball Oskar with delicacy and heart, making him the best part of the film. In fact, all of the performances in the film are applaudable, including Sandra Bullock as Oskar’s grieving mother and Max von Sydow as the mute who becomes Oskar’s companion on his quest.


But despite the cast giving it their all, it doesn’t change the fact that ‘Extremely Loud’ is a film that does nothing but upset. Why, why, would anyone want to see people jumping out of the Twin Towers? Why would anyone want to hear Oskar replay the messages his father left while trapped in the second tower, the messages that Oskar ignored? I found myself pressing my fingers against my ears to block out the noise of Tom Hanks’ panicked voice. No, it’s not because the film is effective; it’s because it’s simply something that I have no reason to want to experience. It has been over a decade since the September 11th attacks, yet the question of “is it too soon?” is undeniably still a relevant one. To make matters worse, the end is so syrupy sweet and artificially hopeful that not only did it make any genuinely touching moment that came before it ring false, but it made me angry that the filmmakers tried to shove a beam of light down my throat after one of the most morose movie-going experiences in recent memory.

Rating: C-