Extremely Loud And Incredibly Close is another addition to the Best Picture nominees for this year’s Oscar nominations. There has been a lot of talk when it comes to the story of this film since it touched a lot of people due to the 9/11 event. Aside from that, it also brings out a whole new perspective when it comes to the resilience of people and children most especially. Let’s take a look on why this film made its way to the Oscar nominations this year. Here’s a movie review on the move Extremely Loud And Incredibly Close.
“If you claimed to be shocked by Extremely Loud and Incredibly Close’s Best Picture nomination – and several angry posters took to Twitter and Facebook to beat that drum – then you don’t know the Academy.
The only thing that truly surprised me about EL&IC on Oscar-nomination morning is that its director, Stephen Daldry, was left out of the Best Director category for the first time in his career. Process this bit if trivia, because it’s truly remarkable. Daldry has directed four feature-length films since 2000. All four have been nominated for Best Picture. And prior to EL&IC, Daldry had received Director nominations, as well.
Were they all deserved? I can’t make that argument. Billy Elliot remains Daldry’s most uplifting film, though it’s my opinion that EL&IC is superior to The Hours andThe Reader. It also is/was a Best Picture shoo-in for so many reasons that its detractors chose to overlook or stubbornly ignore. While not a 9/11 movie, it still hinges on events that took place on that monumental morning. It’s centered around an emotionally damaged (and mentally impaired) special-needs child. It stars two-time Oscar nominee Max Von Sydow, two-time Oscar nominee Viola Davis, Oscar winner Sandra Bullock, two-time Oscar winner Tom Hanks … basically, it was made by Academy royalty, populated with Academy veterans, and directly tailored to the Academy’s tastes in storytelling. And people pretended to be shocked that it made the cut?
Oh, and here’s the most important thing to note about EL&IC — it’s tremendously moving, beautifully acted, mildly manipulative but enormously effective. But that’s where I tend to separate from the masses.
With a 45% Fresh grade on Rotten Tomatoes, EL&IC ranks as one of the lowest-rated Best Picture nominees in the site’s history. (The Top Critics on the site were kinder, but still, that number’s terrible.) And for a while, I tended to agree with the critics who criticized Thomas Horn’s precocious young character, Oskar, a nine-year-old who lost his father (Tom Hanks) when the World Trade Center collapsed.
I can tell you, though, the moment my opinion of Oskar – and, by extension, ofEL&IC — changed. It was Daldry’s shot of the young boy hiding under his bed and scratching, helplessly, at the floor with his index finger as he “coped” with the devastation of 9/11. They are the actions of a damaged child, and with that, my frustration and anger aimed at Oskar melted away into sympathy. I understood Hanks’ need to consistently stimulate his son (who, we later learn, has Asperger’s) with mental challenges. And I caught Bullock’s line about how important Hanks’ character is to their family equation because without him, Oskar won’t grow up to be a man who can contribute to society. Maybe it’s because I’m a parent, and I comprehend the fears, triumphs, concerns and challenges that fly at fellow moms and dads on a daily basis. But with the realization that Oskar had a quantifiable mental illness, EL&IC became a different movie. A better movie. And yes, an Oscar-worthy movie. “
You can read the complete article at Cinema Blend
Get the latest movie review on the film: The Vow