Extremely Loud & Incredibly Close (Stephen Daldry, 2011)

“Extremely Loud and Incredibly Close” is a deeply flawed film: over-sentimental, with a haphazardly changing tone, and an annoying voiceover. Yet, I cannot help but consider it one of the best films of the year. Led by the extraordinary young actor Thomas Horn, the film captures the misery of the 9/11 tragedy and crafts an incredibly sad, yet equally heartfelt and hopeful work. Based on Jonathan Safron Foer’s novel [previously reviewed], Stephen Daldry’s film tells the story of Oskar Schell, who sets out on a mission throughout New York to find the lock for a mysterious key his dead father—a victim of the September 11 attacks—left behind.

The film’s imperfections only further its impact. Like Oskar’s youthful grief, the film is often reckless, yet emotionally powerful. Daldry’s claustrophobic close-ups and visceral array of unusual angles perfectly frame the film, and bolster superb supporting performances by Sandra Bullock, Max Von Sydow, and Viola Davis. I do not expect everyone to like this film, and can definitely understand why people call it emotionally manipulative. However, I believe that films do not need to be perfect, but like every artform, should seek to transcend the cognitive and resonate emotionally in the audience. “Extremely Loud and Incredibly Close” made me cry.

Highly Recommended (A-)