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Movie: Extremely Loud and Incredibly Close

Release Date: December 25, 2011 (limited; wide: Jan. 20)

Studio: Warner Bros. Pictures

Director: Stephen Daldry

Screenwriter: Eric Roth

Starring: Tom Hanks, Sandra Bullock, Thomas Horn, James Gandolfini, Zoe Caldwell, Viola Davis, Jeffrey Wright, Max von Sydow

Genre: Drama

Official Website: ExtremelyLoudmovie.com

IMDB Rating: N/A

Story: Extremely Loud and Incredibly Close, which, like Hugo, features a boy with a dead father and an obsession involving a key, has a title practically begging for addenda from critics. “And Unbearably Cute” would work, along with “Deeply Contrived.” But there’s nothing to mock in the performance of Thomas Horn, the young actor who plays the lock-seeking Oskar Schell. The kid is the mainstay of director Stephen Daldry’s adaptation of Jonathan Safran Foer’s 2005 novel. Dodging the twin minefields of preciousness and an exploitative 9/11 premise, Horn races away with the movie and makes it believably, genuinely sad.

Oskar’s father Thomas Schell Jr. (Tom Hanks), a jeweler and dream dad – playful, wise and engaged in the way that will make 99 percent of the parents who see this movie feel like lazy scum in contrast – had a meeting in the World Trade Center that September morning. He died, but in his last moments left six messages on his home answering machine. Though he’s only 11, the enterprising Oskar trots out into the night of that terrible day (or, “the worst day,” as he calls it) and purchases a duplicate machine so he can keep his father’s last words to himself. Even his mother (Sandra Bullock, solemn and touching) doesn’t know about the device, which is hidden away on a shelf inside a cupboard capacious enough to accommodate Oskar and his growing collection of fetishized objects relating to his father.

Extremely Loud is a scrapbooker’s delight, in love with the notion of secrets and hidden objects and beings, carefully layered, all connected. Oskar goes poking through his father’s closet looking for reminders of Thomas and doesn’t just find a mysterious key; he finds a vase high on a shelf, and inside that is an envelope marked with a single word, “Black,” and inside that is a key. He decides it must be part of a treasure hunt devised by his father, who had a yen for that sort of thing. “Reconnaissance expedition, we called it,” Oskar narrates. “I would have to talk to people which he knew I had a hard time doing.” (The results of Oskar’s earlier Asperger Syndrome tests were “inconclusive,” but it seems his father had drawn his own conclusions.)

A year after the attacks he sets out for a series of Saturday journeys, on foot, to check with every Black family in the phone book (all 427 of them if need be) and discover what the key unlocks. And it’s not just Oskar who is supposed to experience childlike wonder and pleasure at the quest in front of him; the viewer is meant to be equally swept away, sucked into the maze, finding comfort in the neat arrangement of all loose ends. It’s a bitch that life can’t be tied up as nicely as a children’s book, but Extremely Loud does its best to distract us into feeling it can be. It’s got a case of arrested development.

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