What I’m Watching: ‘Plane’ and ‘A Man Called Otto’ provide comfort

Date: 1/24/2023

New to Theaters: “A Man Called Otto”

In the wake of his wife’s passing, surly curmudgeon Otto displays undying dedication to his daily routine of ensuring pristine standards in his suburban neighborhood. While his abrasive edge alienates many, Otto begins to open his heart after sparking an unexpected friendship with new neighbor Marisol and her loving family in “A Man Called Otto.”

“A Man Called Otto” is the latest Hollywood attempt at mining movie magic from a successful international film (2015’s “A Man Called Ove,” which is based on Frederick Backman’s 2012 novel of the same name). I can see why studio executives saw crossover appeal in “Ove,” as the film illustrates an empathetic portrait of a down-on-his-luck elder rediscovering life amidst a kind-hearted community.

Following closely in “Ove’s” footsteps, “A Man Called Otto” enjoys similar success onscreen. Director Marc Foster and screenwriter David Magee shepherd an infectiously sincere dramedy that always rings true with heartfelt sentiments.

I will warn readers now, “A Man Called Otto” won’t be for everyone. The film dispenses a thick syrup of saccharine emotions across its runtime in its pursuits of a feel-good narrative. This choice creates an inherently shmaltzy feature that can be victim to simplifying complex human dilemmas and embracing straightforward, Hallmark-esque solutions.

Yet, underneath the familiar tropes, “A Man Called Otto” still possesses an undeniable heart. I give Foster significant credit for always steering the narrative ship on track. The “Stranger Than Fiction” director has a knack for balancing moments of somber truths with radiant rays of emotional sunlight peeking around every corner. Several scenes that could feel mawkish in the wrong hands connect with genuine impact thanks to his patient touch behind the camera. Best of all, Foster trusts his material’s strengths enough to disavow obnoxious techniques, such as screeching score choices and maudlin moments of melodrama.

Magee’s screenplay is equally accomplished. The writer’s adaptation of Backman’s novel boasts surprising ambition as he juggles Otto’s complex history alongside his relationships in the neighborhood. To his credit, each central ensemble character is well-personified within his screenplay, often boasting the intriguing shading of thoughtful details to enrich their presence. I also appreciate Magee’s sharp thematic focus. Ruminations on the connective power of community and men’s masculine penchant to bury emotional distress under endless busy work are effectively realized throughout “A Man Called Otto’s” runtime.

All of these promising elements create an excellent canvas for the film’s accomplished cast. Tom Hanks is beloved as an affable everyman, but the role of Otto distorts his happy-go-lucky charms in a welcomed change of pace for the actor. Despite his rugged exterior, Otto transforms into an empathetic force under Hanks’ sturdy guidance. The actor displays his remarkable gifts for unearthing aching emotions and bright humor within even the most rigid of characters. Co-star Mariana Treviño imbues effervescent light into the role of Marisol, while Mack Bayda, Cameron Britton and Juanita Jennings skillfully personify their supporting roles as regulars in Otto’s neighborhood.

“A Man Called Otto” displays enough goodwill and intellect to make for a winning crowd pleaser.

Also New to Theaters: “Plane”

Pilot Brodie Torrance is dealt a challenging hand when his commercial plane crash-lands on a separatist island. Alongside the help of convict and former marine Louis, Brodie fights to ensure the safety of his passengers in the action-thriller “Plane.”

A dopey premise of “Plane’s” nature is a picture-perfect fit for the month of January. For years, many have pigeonholed January as a black hole in the theatrical marketplace – one that often features B-movies and other genre films that have no other home in the theatrical calendar. In reality, the month spotlights its fair share of fruitful endeavors. I view January as a welcomed change of pace from the onslaught of acclaimed films that permeate the late months of the year. Offerings over the years, such as “Den of Thieves,” “Cloverfield” and “M3GAN,” successfully extract engaging escapism from their warm embrace of genre movie sensibilities.

With “Plane,” action star Gerard Butler steps into the cockpit of an ’80s action movie throwback that makes no pretenses about its unsophisticated ambitions. What the movie ultimately lacks in nuance and innovation, “Plane” readily makes up for in its infectious embrace of a taut, high-wire roller coaster ride.

It’s easy to see why Butler is Hollywood’s new A-list fixture for B-movie action films. The Scottish actor carries a towering bravado in his latest role as an earnest everyman ensnared in a life-or-death situation. Aided by the ultimate action movie hero name of Brodie Torrance, Butler commands the screen with captivating gravitas. His stern grizzle and impassioned speeches help morph a standard-issue archetype into a magnetic hero for viewers to rally behind. Likewise, “Luke Cage” star Mike Colter leaves a lasting impact as the imprisoned Louis. In a role that features little dialogue, Colter imbues a dynamic presence as a fearless warrior escaping from his troubled past.

Veteran director Jean-François Richet is also well-versed in piloting action movie carnage designed for the big screen (“Blood Father” and the “Assault on Precinct 13” remake are among his credits). Richet enhances “Plane” throughout its runtime by showcasing savvy technical decisions. He and cinematographer Brendan Galvin imprint a guerrilla realism in their shaky cam photography, creating a kinetic grittiness that magnifies the palpable narrative tensions on display. Despite noticeable budgetary restrictions, Richet’s techniques conjure several showstopping set pieces that come to life with creative vigor and stylistic verve.

“Plane” works as a well-oiled action movie machine because of its adept self-awareness. Charles Cumming and J.P. Davis collaborate on a barebones screenplay that features little in terms of characterization and dimension. While this would be a problem with most features, “Plane” utilizes its inherently workmanlike qualities as the ultimate asset. The film takes no breaks for meaningless narrative fluff as it roars along like a raging locomotive hellbent on reaching its final destination. This approach may not create a movie that will leave an indelible impact on the action genre, but it does provide a welcomed infusion of cinematic splendor to the theatrical marketplace.

“Plane” is equivalent to the ultimate comfort food meal. Any lack of nutritional value is easy to stomach when considering the bountiful feast of campy joy the film provides.