Extremely Loud and Incredibly Close
Viewers who like to tears by going to the movies are better preparing their handkerchiefs. “Extremely Loud and Incredibly Close” knocking on the door and this beautiful story about family, death and above all life knows how to move.
A boy (Thomas Horn) who lost his father (Tom Hanks) in the attacks of September 11, 2001 is obsessed with a key he has just discovered. He would do anything to see what it opens, even away from his mother (Sandra Bullock).
It did not take long before the American cinema exorcises the attacks of September 11. The films on the subject have been numerous attempts to describe the impact on survivors. It is in this context that “Extremely Loud and Incredibly Close” is an adaptation of a popular book by Jonathan Safran Foer. Suffering is experienced by a boy of nine years which combines the key to his father. His quest leads him to cross the path of a multitude of people who have decided to live at all costs.
These beautiful lessons of existence are usually subtly brought despite some wrongdoing. The story, funny and dramatic, captive despite slight decreases of regime and final supported. Topics sweep and disrupt the same as all these meetings which are conducted. Interpreters, excellent in secondary roles (especially Max von Sydow, but also Viola Davis, Jeffrey Wright and John Goodman), are there to support Thomas Horn comes out well. Damage that the scenes with the mother – the most successful of the film – are not more numerous. Sandra Bullock is particularly inhabited by this character more than Tom Hanks who loses in his antics.
Story structure that alternates past and present remains clear, following one without too much difficulty. The staging sometimes too precious and artificial Stephen Daldry (to whom we owe the superior “The Hours” and “The Reader”) is not lacking in tone and use of the beautiful soundtrack of Alexander Desplat allows it to reach the level of emotion needed. No doubt there is some manipulation of the public, which lends itself to the exercise, attracted by the topics.
Although it does not exploit fully its infancy, “Extremely Loud and Incredibly Close” remains the film class, conscious of what it is and smart enough to avoid excesses. If we sometimes leave their cynicism at the door to join the proposal, not to do so would be to miss a feature film wrap that acts as a balm to the heart.
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