Tom Hanks once again graces the big screen, proving that his presence alone can draw a crowd, even if the narrative stumbles. Directed by David Mitchell and based on the novel of the same name by Emma Delaney, A Man Called Otto offers a somewhat dreary escape from our post-pandemic world. Despite its unnecessary storytelling device of melodramatic flashbacks, the adaptation – and Hanks – still manage to entertain.

We meet Otto (Hanks) as a man consumed by bitterness after losing his wife and finding himself in a state of despair. While contemplating the end of his own life, he meets his new neighbors – a vibrant young family led by quick-witted Marisol (Mariana Treviño) whose spirited personality challenges Otto’s cynical outlook. An unlikely friendship story is usually a reliable one – and it works here, too. Their relationship becomes the catalyst for a transformative journey that reshapes Otto’s increasingly sad world. Treviño’s presence adds humor, depth and enjoyment to the narrative – one worthy of an award.

Otto takes an unnecessary detour with the inclusion of flashbacks – a smiling-dead-mother / manic pixie dream girl trope, detracting from the more-interesting and authentic present. While they might have been intended to offer an explanation for the character’s actions , they ultimately hinder the pacing of the film.

The melancholic tone and look of Otto complement the emotional undertones of the story. From the piles of snow to the blues of Hanks’ coat, the set design, cinematography, and physical production all contribute to creating a cold world.

A Man Called Otto may not be the most memorable film of 2023, but it offers a glimpse into the human condition – when everything is taken from us, what does it take to move on and start over?