REVIEW: A Man Called Otto
Rated PG-13 • 2 hours, 6 minutes • The bottom line: Tackling a difficult subject matter while also injecting heart, A Man Called Otto does a tremendous job.
Synopsis
When a lively young family moves in next door, grumpy widower Otto Anderson meets his match in a quick-witted woman named Marisol, leading to an unlikely friendship that turns his world upside down.
Director: Marc Forster
Writers: Screenplay by David Magee; based on a novel by Fredrik Backman and a film written by Hannes Holm
Key Cast: Tom Hanks, Mariana Treviño, Manuel Garcia-Ruflo, Rachel Keller, Truman Hanks and Mack Bayda
Producers: Fredrik Wikström Nicastro, Rita Wilson, Tom Hanks and Gary Goetzman
Music: Thomas Newman
What worked
The relationships depicted throughout the film felt authentic
Mariana Treviño does a great job as Otto’s new, lovable neighbor
The supporting cast is strong, particularly flashbacks depicted by Rachel Keller and Truman Hanks
What didn’t work
In a few scenes, the portrayal of social media was a bit overzealous and unrealistic
NOTE: If you or someone you know is struggling with suicidal thoughts or mental health matters, call or text the 988 Suicide & Crisis Lifeline to connect with a trained counselor or visit the 988 Lifeline site.
Losing a loved one isn’t easy, nor are the consequences that come with it—whether it’s depression, frustration, heartbreak or even suicidal thoughts. What makes A Man Called Otto truly remarkable (and in many ways pleasantly surprising) in its delivery is that it doesn’t try to make those emotions things digestible. Rather, it embraces the pain felt by its titular character (Tom Hanks), a grumpy widower and the neighborhood know-it-all, to tell the story of navigating such tremendous loss, and the resolve he has in pushing through that, sometimes despite his best efforts not to.
A Man Called Otto tackles suicide in a head-on manner, taking the issue seriously without drowning out the rest of the story, which is generally more humorous and palatable in tone. It’s a combination that is difficult to navigate, but director Marc Forster and his crew do so masterfully, giving Otto room to feel his grief (and exploring the pain of losing a spouse) while also moving the other parts of his story forward.
Hanks’ performance as Otto is my favorite so far this year, as it’s both heart-wrenching and heartwarming; so deeply in need of a kind, listening ear—and maybe a hug, too—but too caught up in the minutiae of daily life to let someone be there for him. In many ways, the character feels like the antithesis to that of Hanks’ portrayal of Fred Rogers from A Beautiful Day in the Neighborhood (2019), and I’m here for it. The most intriguing thing in Hanks’ portrayal is in just how flawed Otto is as a character, largely because of his being set in his ways and too stubborn to consider alternative views. It’s a frustrating, but effective character trait in the context of the story, particularly as he sees his neighborhood decline in quality as a condominium management company’s forces out many homeowners to make way for renters.
The biggest glimmers of humanity are spurred by Otto’s interactions with his new neighbor, Marisol, and her family—among the neighborhood’s new renters. Mariana Treviño’s performance as Marisol was particularly touching, elevating a script that was underpinned by her relationship with Otto, and breaking through his tough exterior by continually reminding him he’s not alone. The growth of that bond felt authentic and earned, and throughout the film defied Otto’s resistance to new friendships.
This film resonated deeply for me, prompting tears throughout as I sat next to my (equally) blubbering wife. For each of us, it was difficult not to become emotional watching Otto’s life unravel before him through flashbacks to its best and worst moments—what he had, and what he had lost. Each flashback gave a heartfelt peek behind the curtain of an outwardly pretentious and callous man, sparking an unexpected empathy, in large part due to a strong performance by Rachel Keller as Otto’s wife, Sofia, and excellent cinematography. In one of his first major performances, Hanks’ own son, Truman, plays a younger Otto and does well.
This film is dramatic, to be sure, but it still has plenty of uplifting and comedic moments throughout—most all of them situational in nature—and they all hit the mark. From Otto the grump himself and his many idiosyncrasies, to a feral neighborhood cat, to Marisol’s husband, Tommy, there’s plenty of comedic fodder. There are a few moments that take me out of the film, including a situation that overplays its hand related to how a crowd responds to a character’s suicide attempt, as well as the role of a “social media journalist,” but those are choices that don't ultimately break the film for me, as there’s just too much good to it.
For some, A Man Called Otto might be a tough watch, but it has a compelling story, smart direction and a strong cast that finds a strong balance between its comedic moments and a heady, difficult topic in suicide (I’d leave the kids at home for this one). While I had a basic idea of where the film was going within the first 45 minutes, the journey to how it got there was moving and tremendously rewarding.
Bottom line: Tackling a difficult subject matter while also injecting heart, A Man Called Otto does a tremendous job, led by a knock-out performance by Mariana Treviño. Score: 9.5/10