A Man Called Otto

A curmudgeon has rarely seemed as charming as the title character in A Man Called Otto, with the always-affable Tom Hanks generating sympathy for a perpetual grouch.

However, this faithful American remake of the Oscar-nominated 2015 Swedish dark comedy A Man Called Ove softens some of the acerbic edges of its source material for mainstream political correctness.

Beneath all the surface quirks, this version from director Marc Forster (Finding Neverland) is a bittersweet and predictably heartwarming look at aging and mortality that requires some skillful modulation by Hanks to neutralize the persistent sentimentality of which its cranky protagonist surely wouldn’t approve.

From a distance, we’ve all seen versions of Otto, a condescending widower who sneers at millennials, decries social media, and barks about government intrusion while living a life of solitude in his midwestern gated community.

He’s a Grinch for all seasons, always muttering and complaining during his voluntary daily “rounds,” which essentially turn him into zero-tolerance watchdog for neighborhood code violations and obscure HOA minutiae.

He’s suicidal, too, except attempts to take his own life are always being interrupted by his nosy neighbors, particularly Marisol (Mariana Trevino) and Tommy (Manuel Garcia-Rulfo), who just moved in across the street with their two young daughters, eager to befriend Otto by overlooking his disagreeable demeanor.

Flashback segments detail the grief and regret that led Otto to this point, with his depression stemming primarily from the death of his beloved schoolteacher wife.

Marisol and her kids represent an unlikely vessel for redemption and catharsis, whether it’s using his handyman skills or volunteering as a driving instructor just so Marisol’s parallel-parking expertise matches his own. Can he help lift morale in his community rather than tearing it down?

An appealing portrayal by Hanks, which balances external gruffness with internal vulnerability, makes his character’s irascibility seem rational and even endearing.

Compromising some of the freshness and ingenuity of the original film, the screenplay by David Magee (Life of Pi) — adapted from a Fredrik Backman novel — needs some tightening as it transparently attempts to yank at the heartstrings.

Proving the story’s universal resonance beyond its snowy Scandinavian roots, A Man Called Otto nevertheless is compassionate but contrived, especially in the final act. Seek out its predecessor instead.

Rated PG-13, 126 minutes.