Extremely Loud & Incredibly Close

Starring: Thomas Horn, Tom Hanks, Sandra Bullock
Directed by: Stephen Daldry (“The Reader”)
Written by: Eric Roth (“The Curious Case of Benjamin Button”)

With 9/11 brooding at the center of its emotionally manipulative core, “Extremely Loud & Incredibly Close” displays about as much modesty regarding the 2001 tragedy as Rudy Giuliani’s 2008 presidential campaign. Simply put: it’s an exploitative sham.

While the self-important drama would like to do for September 11 what a film like 1997′s “Life is Beautiful” (“La vita è bella”) did for the Holocaust by telling a whimsical and heartfelt story within the framework of an unimaginably painful time in history, it doesn’t have nearly enough charm to pull it off. Its lack of quality storytelling and characterization begins and ends with acting newcomer Thomas Horn as the film’s main character Oskar Schell. Metaphorically and pretentiously speaking, the boy’s last name could refer to the hard outer covering of the personality he must break through to let others in. Sigh.

Oskar, who just might be one of the most posturing characters in cinematic history, is unlike any other brainy 9-year-old kid usually seen in the locker room with his underwear pulled over his head. Not only is he an amateur entomologist, Francophile, pacifist, and undiagnosed autistic — his idea of fun is going on fact-finding expeditions through the New York City his father (Tom Hanks) creates for him. When his father dies in the World Trade Center attacks, Oskar is convinced a mysterious key he discovers is a clue left behind for his next journey.

Ignore the fact that Oskar’s mother (Sandra Bullock) allows him to walk around NYC unsupervised or that actually coming across a lock the key will fit is highly improbable; what is most problematic about the screenplay is the rambunctious and grating nature of Oskar himself and the phony relationships he creates along the way, including one with his estranged mute grandfather (Max von Sydow).

Despite the exaggerated melodrama, what works best in the film are the few moments director Stephen Daldry (The Hours) allows a child’s perspective to be the window through which the audience watches the events of September 11 unfold. Hanks, too, is memorable when he’s not on screen. The voice messages he leaves on an answering machine on what Oskar calls “the worst day” are chilling, to say the least.

Beyond that, however, “Extremely Loud” is meaningless. As much as it wants to affect, connect, and heal, there’s only so much fiction you can attach to 9/11 before it feels like just another sob story. If the Academy made a glaring gaffe with this year’s nominations, it was in calling this sentimental drivel one of the best films of the year. In fact, this is a forced tearjerker that can’t wrap up soon enough.

Wilmer Valderrama – Handy Manny

While actor Wilmer Valderrama might be best known for his role as Fez in “That ’70s Show,” children might recognize him more as the voice of the animated title character on Disney Channel’s “Handy Manny.” Since 2006, Valderrama, 30, has played the bilingual Hispanic handyman who goes on adventures with his talking tools.

During an interview with me, Valderrama talked about how “Handy Manny” inspires kids and what he thinks every Latino man should know how to do.

What’s been the most enjoyable part about working on an animated series like “Handy Manny?

To be honest, it’s been one of the most rewarding adventures I’ve ever been on in my career. You never really understand how powerful this age demographic is and more importantly how influential a show like “Handy Manny” can be to their upbringing. I really believe this show is investing in a younger generation and can inspire them. I’m very proud of what the show has become

After three seasons, are you used to hearing your voice come out of this little cartoon character?

It’s been really weird. I mean, I grew up with cartoons, but I never really understood that there were people behind microphones. But, yeah, you eventually get used to it and it becomes fun. It’s quite magical. When you put a voice to a character and that allows kids to smile and learn it’s really neat. It’s a wonderful feeling to be able to see what you can do with your own voice.

What kind of handyman are you in real life?

It all depends on the job. I wouldn’t get crazy and try to fix my own refrigerator, but I definitely know how to change a tire and a battery. I definitely know how to handle my cars. I think if you’re a Latin man you have to be able to fix something and salsa dance.

Which tool on the show reminds you of yourself the most?

I would have to say Flicker (an animated flashlight) because he is new to the English language. I can relate to his language struggles. When I first came to America I didn’t know how to count to three in English. As we embark on his own journey on the show we get to appreciate a second language and other cultures. I do have to say that “Handy Manny” has really made my English better.

You’re coming up on your 10-year anniversary in the film industry. What have you learned about yourself as an actor over the last decade?

One of the things I have learned is not to compromise with what you know you can do and not sell yourself short. I always want to stay consistent with who I am as an actor and never just settle for the flavor-of-the-month kind of projects. One of the things I have been blessed with is that I don’t have to take jobs for the sake of taking jobs. I’ve been able to do the roles that I want to do. Every movie and every TV show I can truly say that I am a fan. I think that’s probably the moral of the story in the last 10 years. You have to appreciate your opportunities. Once you have them in front of you, take them and execute them to the fullest.

It’s been 15 years since Tom Hanks has written and directed a feature film (“That Thing You Do”). What was the experience like working with him on the upcoming film “Larry Crowe?”

Talk about a privilege! It was an honor. He is someone that has redefined our generation with his work. With him, you really learn how to appreciate a human being who truly enjoys what he does and has used his platform for good. If there is anyone to look up to I think he is the one. When you look at America and what we have today he really is one of the pioneers. He’s an all-American hero. From all the TV shows he’s produced like “Band of Brothers” and “The Pacific” and all the movies he’s starred in, I’m just really blessed I was directed by him. He trusted me with his film. It’s an exciting time. The movie is going to be amazing. He’s incredible in this. He’s created another memorable character. You’ve never seen Julia [Roberts] act like this either. Tom has never forgotten where he’s come from and he treats people with the same kindness that everyone shows him. That’s the classiest act we have in the U.S.

Toy Story 3

Starring: Tom Hanks, Tim Allen, Don Rickles
Directed by: Lee Unkrich (“Finding Nemo”)
Written by: Michael Arndt (“Little Miss Sunshine”), John Lasseter (“Toy Story 2”), Andrew Stanton (“WALL-E”), Lee Unkrich (debut)

It’s difficult enough for some live-action films to express human emotion through human characters without sometimes crossing the line into melodramatic territory. Who knew 15 years ago it would be Pixar Animation Studios that would create a trilogy of films that would clearly defined the term “unconditional love” and convey it through a computer-generated boy and his plush, pull-string toy?

While the original classic “Toy Story” from 1995 was an exciting, nonstop adventure featuring a cast of uniquely-imagined characters, it was “Toy Story 2” that truly illustrated the intrinsic connection children and toys share with one another. In “Toy Story 3,” the significance of these relationships has come full circle in a sentimental and clever, but also dark and profound narrative undoubtedly worthy of being a part of Pixar’s growing distinction as the best animation house ever built.

With screenwriting duties going to Academy Award winner Michael Arndt (“Little Miss Sunshine”), it’s evident Pixar – while a majority of its fan base are kids and families – isn’t simply playing for empty laughs. There is some seriousness in “Toy Story 3” from the very beginning.

It would have been easy enough to pick up from the same happy-go-lucky tone the last movie ended on, but instead Arndt and director Lee Unkrich take a realistic approach to the time passed. Andy (John Morris) is no longer the little boy who would play in his room for hours with the assortment of toys we’ve all grown to love. Woody (Tom Hanks), Buzz Lightyear (Tim Allen), and most of the original toys are still present (others have met their fate by way of yard sales and spring cleaning), but at the age of 17, Andy hasn’t played with them in years.

Now, the toys long for the attention they used to receive when Andy was an imaginative grade-schooler. They also worry about what will become of them once Andy leaves for college. What will life in the attic be like once they’re placed in storage? Will any of them be given away or worse, tossed into the garbage?

When Andy’s toys are accidentally placed onto the curb for trash pick-up and subsequently donated to a local day care center, Buzz and the gang try to make the best of it although Woody is insistent about finding their way back home. But when a group of second-hand toys led by the a strawberry-scented teddy bear named Lotso (Ned Beatty) welcome them with open, fluffy arms and explain that “no owners means no heartbreak” the daycare’s newest residents are sold on the idea.

Playtime, however, doesn’t turn out to be what was expected. Lotso and his crew, including Ken (Michael Keaton), an octopus toy named Stretch (Whoopie Goldberg), and a lazy-eyed baby doll, run the daycare like a prison. While Woody is able to escape, he ends up in a whole new situation when he is found outside the day care center and taken home by Molly (Beatrice Miller), a shy little girl with her own collection of huggable toys, including Mr. Pricklepants (Timothy Dalton), a thespian hedgehog.

Created with any number of prison-break movies in mind, Pixar takes “Toy Story 3” and gives it enough visual flash and flat-out hilarious moments that rival anything the animation studio has ever done. The film’s success, however, doesn’t end at the flawless character rendering and production value. There is an innovative spirit to it that is rare for any animated film to generate. From moments of pure delight and chilling anxiety to one of the most heartbreaking goodbyes in recent memory, “Toy Story 3” wraps up the franchise in masterful fashion and once again proves Pixar is on a level all its own.

Angels & Demons

Angels & Demons
Starring: Tom Hanks, Ewan McGregor, Ayelet Zurer
Directed by: Ron Howard (“Frost/Nixon”)
Written by: David Koepp (“War of the Worlds”) and Akiva Goldsman (“I Am Legend”)

It might not ruffle as many miters as Bill Maher’s 2008 God-is-the-equivalent-of-an-imaginary-friend documentary Religulous, or even The Da Vinci Code, the first film based on author Dan Brown’s bestselling novels. When two-time Oscar winner Tom Hanks dismisses faith in favor of science in Ron Howard’s Angels & Demons, however, you know there’ll be a few extra Hail Marys uttered for the souls of the entire production.

Nevertheless, when it comes to all things religious, not even a talented director like Howard can enlighten everyone. Nor can he and screenwriters David Koepp and Akiva Goldsman manage to compress Brown’s text into an insightful narrative. Their version really should be renamed CSI: Vatican City.

In A&D, Hanks reprises his role as Harvard University symbologist Robert Langdon, the protagonist pitted against an angry albino and a secret sect of the Catholic Church in 2006’s Da Vinci conspiracy. Here, the professor teams up with more God-fearing men to discover who is responsible for the disappearance of four Vatican cardinals and the theft of a top-secret science experiment that could annihilate Rome if it’s not found in time.

Clues point to the Illuminati, a centuries-old underground society made up of Catholic free thinkers for whom the fine line between religion and scientific truth is always smudged. Needless to say, this idea doesn’t jibe with the traditional Church’s contention that “ancient traditions [are] threatened by a modern world.” (Prayer chain emails, by extension, must be the root of all evil.) There is, however, never an authentic sense of conflict between these concepts beyond the film’s conspicuous amped-up tempo after the much-maligned sluggish pace of its predecessor. Science and technology may very well lead to the death of theology, but A&D’s preaching lacks any real conviction.