Mixed or average reviews - based on 41 Critics

Critic score distribution:
  1. Positive: 19 out of 41
  2. Negative: 9 out of 41
  1. Reviewed by: Michael Phillips
    Jan 19, 2012
    If actors this good cannot overcome their material, then we can only say: Tom Hanks, Sandra Bullock … Max von Sydow, Zoe Caldwell, Viola Davis, Jeffrey Wright, John Goodman… thanks for your honest efforts in the service of a fundamentally dishonest weepie.
  2. Reviewed by: Eric Kohn
    Dec 26, 2011
    If "Extremely Loud" came out in the weeks or months following 9/11, more audiences (and critics) might find an excuse to appreciate the way its soul-searching protagonist works through his grief. Ten years later, his struggle actually feels outrageously old-fashioned.
  3. Reviewed by: Andrew O'Hehir
    Dec 26, 2011
    Renders Jonathan Safran Foer's best-selling 2005 novel into unconvincing Hollywood mush.
  4. Reviewed by: Ann Hornaday
    Jan 19, 2012
    There's a fine line between precocious and insufferable, and it's a line continually crossed by Extremely Loud and Incredibly Close.
  5. Reviewed by: Rene Rodriguez
    Jan 19, 2012
    You need lots of gifted people chasing after the same bad idea to make a movie as colossally misguided as Extremely Loud & Incredibly Close.
  6. Reviewed by: Lou Lumenick
    Dec 23, 2011
    About as artistically profound as those framed 3-D photos of the Twin Towers emblazoned with "Never Forget'' that are still for sale in Times Square a decade after 9/11.
  7. Reviewed by: R. Kurt Osenlund
    Dec 22, 2011
    This film buries its soul beneath its own pretentious rubble, and the youthful, labyrinthine mind in which it places viewers feels less like an offbeat vehicle for healing than it does a kaleidoscopic prison.
  8. Reviewed by: Joe Morgenstern
    Dec 22, 2011
    The production's penchant for contrivance is insufferable - not a single spontaneous moment from start to finish - and the boy is so precocious you want to strangle him. It's surely not the fault of Thomas Horn, the remarkable young man who plays him.
  9. Reviewed by: Scott Tobias
    Dec 22, 2011
    It will always be "too soon" for Extremely Loud And Incredibly Close, which processes the immense grief of a city and a family through a conceit so nauseatingly precious that it's somehow both too literary and too sentimental, cloying yet aestheticized within an inch of its life.
User Score

Mixed or average reviews- based on 154 Ratings

User score distribution:
  1. Positive: 34 out of 63
  2. Negative: 12 out of 63
  1. Dec 26, 2011
    As somebody whose son died on 9/11, I found this film to be both exploitive and inaccurate. It was forced and poorly done. A disappointment. And boy is Sandra Bullock getting old. Full Review »
  2. Apr 15, 2012
    This is the most touching movie i have ever seen. It's hard to find a more moving film than this. I simply do not understand all the negative reviews about this. This is definitely a must see! Full Review »
  3. Feb 27, 2012
    Extremely Loud and Incredibly Close is the most underrated film of the year. Although the topic is a little bit repeated, the point of view that shows is new: the perspective of a boy in the 9/11. The plot of the film is not very interesting and also predictable.
    Definitely Thomas Horn performance increases the value of this film. The character of Oskar is heartbreaking; he is boy trying to turn the senseless in sense. Being completely rational, everybody and everything it is turn into a number of a big equation that needs to be solved. But sometimes Oskar forgets that he is also a human being, and for us is aloud to make mistakes. The scene that represents best the whole character is the one that Oskar start running and shouting, but never stops playing his tambourine. The performance of Max Von Sydow is also remarkable, because he is trying to make changes in his life and in the life of the boy, but he is trap by a Yes/No sign in his hand, a pencil and a notebook. The scene that explains all this is when Oskar is showing him the recording of his father, he begins to despair, but what he writes is not enough to show it well.
    The contrast between a boy who knows little and what know a lot against a old man who knows a lot and what to know little is priceless.
    Full Review »