Extremely Loud and Incredibly Close (12A)

Best Picture Oscar nominee still in cinemas!

This review was first published in The Methodist Recorder (www.methodistrecorder.co.uk).

Extremely Loud and Incredibly Close (12A)

The latest film by director Stephen Daldry (Billy Elliot) follows nine year old Oskar Schell as he struggles to cope with grief after losing his father on 9/11. Oskar may or may not suffer from Asperger’s syndrome, and needs to hone his interpersonal skills as well as face his many fears and phobias.

Tom Hanks plays Oskar’s father Thomas, a likable character deliberately played one dimensionally so as to portray Oskar’s feelings and memories of him. Oskar loves everything about his dad from his familiar behavioural quirks, to the ingenious outdoor ‘missions’ that he devises. These are elaborate treasure hunts for Oskar; so when post 9/11 the boy finds an old key of his dad’s without a lock, he sets about investigating its purpose, considering this his father’s final challenge.

Though played with startling passion by rising star Thomas Horn, Oskar makes something of a grating lead character. He carries a tambourine everywhere with which to calm his nerves, but for the audience it’s constant rattle is rather irritating. Sandra Bullock is very believable as Oskar’s widowed mother, and the legendary Max von Sydow is brilliant as a mysterious mute.

The film’s tone is one of intense sincerity, and while that might be necessary to remain reverent of 9/11, it forces the story to a place where it only rarely rings true. Daldry intended that the film be released in time for the tenth anniversary of 9/11, so now unfortunately the story feels belated. Had it been produced sooner after the fact then the film may well have had greater impact, but as it is the effect is dampened.

The world portrayed is one where questions do not always have answers, and where atrocities are as meaningless as Oskar’s efforts to understand them. It is true to life then, but only as perceived by souls living by sight alone. No comfort or consolation is presented, just the need to come to terms with the meaninglessness. This leaves the viewer feeling somewhat empty when the credits roll.

Others have called Extremely Loud and Incredibly Close the weakest of this year’s Best Picture Oscar nominees, and with good reason. The story is untimely and delivers a mixed message, but the solid performances and harrowing depictions of the World Trade Centre attacks just about make it worth seeing.

War Horse (12A)

Nominated for 5 BAFTAs and 6 Oscars including Best Picture at the Academy Awards next month, here is my review of Steven Spielberg's War Horse, still in cinemas.

This review was first published in The Methodist Recorder (www.methodistrecorder.co.uk).

War Horse (12A)

Based on the children’s novel and acclaimed stage production, Steven Spielberg’s War Horse tells the tale of Devon boy Albert and his horse Joey, which Albert must rescue when he is sold to the army in WWI.

The story is a deliberate tearjerker, especially for animal lovers and younger viewers who make up most of its intended audience. For others all the melodrama, tears and heroics may seem over the top when centered around an animal. A major weakness is that Spielberg doesn’t well enough set up why we should care about Joey, let alone empathise with Albert who even puts his own life on the line for him.

For those forgiving enough to see past these flaws, War Horse will reward with a powerful cathartic experience. The story’s simplicity is a strength, with little time wasted on peripherals beyond the core element of a boy and his horse, which splits into parallel plot threads once they are separated.

Spielberg shows brilliant restraint as he portrays the cruelties of war in a way which is suitable for most children. Almost never do we see impact or injury in the excellent battle scenes, with a lingering shot of the aftermath being plenty to tell the story.

The visuals are a rich and colourful feast for the eyes. Almost miraculously the cinematographer has transformed the bleakness of Devon into a world of soft sunlight and glowing English charm. Contrast that with the dark and smokey No Man’s Land, a place of horrors that becomes a stage on which Joey teaches both sides in the war something of the humanity they lose in fighting each other.

Made more likable by healthy doses of good humour, the film’s close to two and a half hour running time races past comfortably. Peter Mullan is wonderful as Albert’s defeatist father and Benedict Cumberbatch is terrific as always, here playing a cocky British Major.

Worthy themes of bravery and sacrifice abound, but when in relation to a soulless creature it becomes hard to contrive much worthwhile Christian comment. Suffice to say it brings Psalm 33:17 to mind.

For those wise to the heartstring tugging mechanisms used however expertly by the director, the film can be occasionally irritating. Faults aside, War Horse will satisfy most and leave them with a genuinely warm feeling; but anyone looking for much more than that should look elsewhere.