Remember those trailers for Stephen Daldry‘s adaptation of Extremely Loud and Incredibly Close that we all cringed at? Well, how could you forget – they stick with you in a very off-putting way. Disappointingly, most of Extremely Loud and Incredibly Close replicates that experience. Daldry’s a fine filmmaker, and with a script from Eric Roth – a writer who’s delivered his fair share of modern classics – one should expect more from their collaboration. What their combination delivered is a mostly stilted, heavy-handed, and, quite often, wrongly manipulative experience. I won’t dismiss the film as being “blatant Oscar bait,” seeing as it’s well-intentioned and earnest. Unfortunately, those intentions, in execution, feel false and empty. A real heart isn’t here to grab onto; only an artificial and cold one. The film constantly says how Oskar Schell (Thomas Horn) affects all these people he meets, but it never shows it. There are little glimpses of the child interacting with people on his quest, and whatever his effect may be holds no weight. The only emotional beat that somehow works is between Horn and Jeffrey Wright, despite the scene leaving one with the thought of, “Well, how’s this going to impact Wright’s character?” Sure, he’s seeing the beauty of a child desperately trying to find an answer, but in the grand scheme of things, the effect will probably be as powerful as a nice Christmas card: makes you smile and maybe makes your day, but a few days later, you’re no different.