Extremely Loud and Incredibly Close

There is risk in almost any big-screen adaptation of an acclaimed literary work, but Extremely Loud and Incredibly Close has more potential pitfalls than most.

Awkward title notwithstanding, the unabashed tearjerker deals directly with a family tragedy caused by the terrorist attacks of Sept. 11, 2001, which always is tricky territory.

And while the film’s approach seems more heartfelt and sensitive than crass or exploitative, it never achieves the desired emotional connection with its audience, nor does it effectively convey a deeper, more general sense of mourning for the victims of that day.

The film, which is based on the 2005 novel by Jonathan Safran Foer (Everything is Illuminated), certainly has elements of prestige, with a cast featuring Tom Hanks and a behind-the-scenes team that includes director Stephen Daldry (The Hours), screenwriter Eric Roth (Forrest Gump) and producer Scott Rudin (The Social Network).

The story centers on a precocious preteen named Oskar (Thomas Horn), whose guilt over the death of his father (Hanks) in the World Trade Center attack has driven an emotional wedge between him and his grieving mother (Sandra Bullock).

So Thomas begins a journey — the type he used to share with his dad — to find the lock for a key from his father’s closet that might hold a secret. Along the way, he interacts with plenty of strangers, including an elderly neighbor (Max von Sydow) who agrees to help him, as he gains a better view of the world by simply traveling to every corner of New York and observing those around him.

Extremely Loud gets better as it goes along, when the dense narration is less of a distraction and the story relies less on contrived whimsy.

The film’s successes are mostly on a technical rather than emotional level. The production is slick and polished, including the cinematography by Oscar-winner Chris Menges (The Mission).

Likewise, the performances are solid throughout, with newcomer Horn as a standout in a role that requires restraint in addition to the obligatory angst-ridden histrionics so common in films with child protagonists.

The film includes some undeniably poignant moments in its second half, showing how sudden tragedy and resulting guilt and grief can both tear apart a family and bring it back together.

However, the film devolves into a sentimental, heavy-handed mess that has its sense of childhood innocence replaced by precocious calculation.

Rated PG-13, 129 minutes.