Author: Shani Harris

  • AIR: The BRWC Review

    AIR: The BRWC Review

    Ben Affleck and Matt Damon have reunited again on the big screen for the first time since their Oscar winning collaboration in Good WIll Hunting.  The real life best friends became the golden boys of Hollywood after they each took home an Academy Award for penning the screenplay. The Town is my favorite of his many films working behind the camera. Affleck won an Academy Award for his work directing, Argo, which won Best Picture. His approach to telling the AIR story about how Nike became a global money making brand is to focus on sports marketing executive Sonny Vaccaro who is portrayed by Matt Damon.

    Michael Jordan left the University of North Carolina for the NBA in 1984. Nike co-founder Phil Knight benefited from brokering the landmark Air Jordan sneaker deal which still generates over $2 billion dollars on an annual basis. “It’s a lot of people who think they created the success of the Jordan Brand, which is kind of ironic in some ways,” Michael Jordan told USA Today Sports. Jordan shared his perspective on how the main players were very different.

    The article further states. “He’s the only one who sounded even slightly amused about who gets credit for the landmark deal. Charges of exaggeration, deception, betrayal and conspiracy were leveled during interviews with USA TODAY Sports with those involved in the deal. Jordan weighed in, as did Nike co-founder Phil Knight, Nike executive George Raveling, former Nike basketball adviser Sonny Vaccaro and former Nike executive Peter Moore.”

    “The signing of Michael Jordan, yeah, success has a thousand fathers and failure is an orphan,” Knight told USA TODAY Sports. A lot of people want to take credit for signing Michael Jordan, most obviously Sonny Vaccaro. On ESPN he said he was the key to the thing. Sonny helped, but he wasn’t the MVP in that process.”

    The legendary Michael Jordan was very straightforward about his perspective on what happened. “In all honesty, I never wore Nike shoes until I signed with Nike,” Jordan said. “I was a big Adidas, Converse guy coming out of college. Then actually my parents made me go out to (Nike’s headquarters in Beaverton, Ore.) to hear their proposal. “Prior to all of that, Sonny (Vaccaro) likes to take the credit. But it really wasn’t Sonny, it was actually George Raveling. George Raveling was with me on the 1984 Olympics team (as an assistant coach under Bob Knight). He used to always try to talk to me, ‘You gotta go Nike, you gotta go Nike. You’ve got to try… He actually introduced me to Sonny in L.A. And then, I didn’t know who Sonny was at the time,” Jordan said. “I knew of him, but I never really met him…Sonny didn’t influence me to go to Nike. He got a deal proposed. He talked to Strasser. Strasser at the time, from what I understood and perceived, he really didn’t know the type of player and the type of person I was. He was looking at whoever he could find to fit that mold from what he was trying to do from an Air Jordan standpoint.”

    Michael Jordan’s The Last Dance documentary highlighted the important role his mother played in his career. Deloris Jordan was successful in convincing him to meet with Nike as a free agent. In 1984 Adidas, Converse and Puma were all bigger brands than Nike which was considered to be a running shoe. Chris Tucker went into detail on Big Tigger’s V-103 about how Deloris was a big influence. “Michael’s mom said, ‘You’re going to all these meetings. You got to see what they got to offer.”

    Viola Davis is perfectly cast as Michael Jordan’s matriarch. She steals every scene that she is in and pinpoints the unwavering bond she has with her son, while flexing her impressive business acumen. She plays opposite her real life husband Julius Tennon who is more laid back than the gregarious personality that was often on display by the late James Jordan.

    This is not your typical sports movie or biopic about Michael Jordan’s struggle to build his career with a stellar rise to fame and fortune like Reinaldo Marcus Green’s King Richard which earned Will Smith an Oscar. AIR utilizes the cookie cutter template of Jerry Maguire without using the multilayered pathos about shining a light on any interpersonal relationships. Cameron Crowe’s Jerry Macguire opens with a sports montage of athletes showcasing their skills while Jerry explains the complexity of his job. He may work cooped up in an office space. But Jerry makes a point to visit players on his roster during their games. He falls in love, becomes a father and witnesses the doting dynamic of football player Rod Tidwell with his wife Marcee (Regina King).  Jerry’s arch nemesis is cutthroat sports agent Bob Sugar played by Jay Mohr. The actor makes a small meta type surprise cameo in AIR as rival Adidas exec John Fisher.

    Damon’s Vaccaro is soley focused on his gambling addiction, creating a shoe and signing a rookie Michael Jordan as he spends a 24/7 existence living in the office to undergo his ambitious venture. Comedian Chris Tucker improvised most of his dialogue in his role as Nike executive Howard White who is currently Vice President of the Jordan Brand. Chris Messina as David Falk seems heir apparent to Bob Sugar. He often goes on the offensive as Michael Jordan’s crass agent who does whatever he can to provide a buffer between himself, his client and Nike.

    The wall to wall 80’s music soundtrack sets the tone for the period film. This was a time when Nike boss Phil Knight (Ben Affleck) thought he was stylish wearing tracksuits, jogging in circles and occassionally elevating his bare feet on a desk to collect his thoughts. Rob Strasser (Jason Bateman), Howard White ( Chris Tucker) and shoe designer Pete Moore (Matt Maher) round out the team who are working down to the wire to negotiate the exclusive contract.

    The story unfolds through dialogue heavy conversations with little physical blocking or camera movement amongst the actors, which makes the scope feel a bit claustrophobic. Vaccarro tracks down Jordan’s basketball coach George Raveling (Marlon Wayans) in a bar. Instead of them discussing the business matter on a basketball court to showcase his work as a professional and highlight his athletic skills. His talent helped Michael Jordan at the Olympics and forged their life long friendship. Vaccaro and White both conduct an important talk, about how critical it is to get the young player’s parents on board to move forward otherwise things will get stalled.

    The audience is denied any glimpse of Michael Jordan’s face. How do you make a movie about Michael Jordan without ever showing the iconic player on screen? This question is a riddle that is never fully answered. Ben Affleck, Matt Damon and Jason Bateman are all former child actors. Showing the face of the young actor who plays Jordan would have a significant impact on his burgeoning future in the industry. Michael Jordan’s image is instead shown in grainy degraded archival footage projected on television screens.

    “This is not the Michael Jordan story.” Affleck stated while promoting the film in the UK. “He is in fact not even in the movie. For one thing I thought it would be too difficult to get the audience to believe that anyone other than Michael Jordan was actually Michael Jordan. Considering he is so iconic.” The resulting narrative is thus shifted from having an African-American lead portraying Michael Jordan as the hero coming of age with his mother and father by his side in a competitive sport. He is never shown having to make the tough decision about what brand would win the deal like the nail biter presented on screen when Reebok approached a young Venus Williams. Ben Affleck admitted that Michael Jordan was not heavily involved in making AIR. But he did make suggestions about certain characters that had to be shown.

    “This was a story about the world around him. About how he changed the world. He changed this company. About the people who look out for people in Michael’s situation.” Affleck explained to the tv presenter. “So the involvement was really limited to me having the opportunity and being gracious enough to give me the opportunity to sit down with him and say. 

    “Listen this script came across my desk. First of all I won’t make it if you don’t want me to.  Full stop. Second of all if you are open to the idea. Because I have to change things in order to make it sort of a fable. And to make it a hour and a half and not mired in historical detail. I want to know what things are absolutely inviolate. That you can’t have changed and are important to you. He actually. It was telling. He cared about others being mentioned as being important to the process. Among them Howard White who Chris Tucker plays. George Raveling who Marlon Wayans plays and he talked about the importance of the role his mom played who of course is played by Viola Davis who is extraordinary.”

    The sticky nature of not focusing on the historical accuracy makes the film feel like a long Nike commercial without any emotional payoff.  Matt Damon is framed in larger than life close-ups to maximize his screen time. The goal is to show that he is the hero of this story, because he rescued Nike from the embers of obscurity by securing Jordan.  The real life Vaccaro was not happy with having his role downplayed so he lashed out with a jarring retort in the Error Jordan article. “Phil Knight’s lying, Michael’s lying more than Phil and Raveling is insane,’’ said Vaccaro, who was fired by Nike in 1991 without public explanation and went to work at Adidas for Strasser and Moore, who left Nike in the late 1980s. “All three of them need to destroy me to live happily ever after. “Everyone’s trying to rewrite history. It goes beyond Jordan. I am the savior of Nike.’’

    That is how the film unfolds with Vaccaro shown as the savior of Nike and Howard White along with George Raveling relegated to lesser prominence in the narrative. AIR runs on the nostalgia of Matt Damon and Ben Affleck having career comebacks that harkens to a bygone era. Damon had a cameo cut from Ocean’s Eight, Downsizing was collateral damage and he portrayed a Trump supporter in Stillwater which didn’t resonate. The other glaring omission was the significance of Black culture in helping the marketing of sneaker fandom. Rappers Run DMC helped make Adidas cool globally as their hit music singing their praises in My Adidas climbed the charts. Oscar winning director Spike Lee was another contributor to shaping the perception of the brand for a younger diverse generation in commercials and films which helped boost sales and solidify the iconic status of AIR Jordans.

    AIR keeps it’s feet firmly on the ground and is far from a slam dunk. Viola Davis redeems the film by embodying Deloris as a caring parent who had a vision and understood the importance of headstrong leadership. it was an additional treat to see Chris Tucker try to capture the magic of his noteworthy one liners in cult favorite Friday. The truer origin story is depicted in the Michael Jordan documentary. Any cinephile can see the influence of Damon’s former collaborator Cameron Crowe who directed him in We Bought A Zoo. The famed director made Elizabethtown about a shoe designer who makes a failed money making brand venture. AIR depicts Nike’s path to success and unfolds like “We Bought A Shoe.”

    Grade : C

    AIR is now playing in theaters.

  • A Thousand And One: Sundance 2023 Review

    A Thousand And One: Sundance 2023 Review

    R&B singer Teyana Taylor stars as single mom, Inez, in A.V. Rockwell’s feature directorial debut. Emmy Award winner Lena Waithe produced, A Thousand and One, which won the coveted Grand Jury Prize at the Sundance Film Festival. The usually glamorous soul songstress and director made a jaw dropping cameo in Coming 2 America.

    The memorable scene shows beautiful Bopoto Izzi being introduced as a possible suitor for the son of King Akeem Joffer (Eddie Murphy). Taylor wears minimal makeup and door knocker earrings, showing herself to be noticeably raw and vulnerable in her portrayal of a hard knock life Harlem native. Inez does what she can to turn her life around after being incarcerated.

    The film begins in early 90’s New York City during the administration run by Rudy Giuliani.  The infamous Donald Trump attorney is never shown, but his strict policing dictates are heard in a sonic landscape of audio sound bites to provide exposition about the gritty era.

    Teyana Taylor has a commanding presence on screen from the first moment we see her as twenty-two year-old, Inez, living in a Rikers Island prison cell.  The notorious jail is a harsh place to do a sentence. Inez pivots upon release and stays with her best friend while making ends meet braiding hair.

    She locates her six-year-old son Terry (Aaron Kingsley Adetola) who is playing on a street corner. Terry has been in foster care the whole time she was serving her term. “Tell me more about your foster mother, you like her?” Inez asks her son. She begins to re-organize her life. Shortly after returning to Terry’s area, Inez soon discovers that he suffered an injury and he fell out of a window. Inez is determined to break the, foster care to prison cycle. She tracks down her son, who is badly bruised and asks him. “Would it make you feel better if you came to stay with me?”

    She removes him from the hospital without permission and brings him to live in their new home. The pair do their best to survive in their cramped apartment number 1001, while the spectre of gentrification looms around the city.

     It is not long before Inez’s boyfriend Lucky (Will Catlett) returns from prison. The couple begins dating again and eventually they get married. The husband and wife decide to raise Terry in a loving two parent home that they never had growing up. Lucky is not his biological father. However, he does know the way of the street and provides paternal manhood guidance to his adopted son.

    He teaches him life lessons like the importance of walking on the right side of the street for protection. Terry comes of age in the neighborhood. Two different actors perform the role as he matures into a teenager. Aven Courtney is an inquisitive thirteen-year-old who witnesses the ups and downs of the relationship between the married pair.

    Lucky has a wandering eye and his extramarital interests around the neighborhood eventually cause tension and loud arguments.

    Josiah Cross picks up the role for the third act as Terry. He is now navigating his way through the world and flourishing in his studies. Director A.V. Rockwell examines similar themes of Black boyhood in her short film Feathers that screened at a pre-pandemic Sundance. She has a natural affinity for realistic dialogue and struggles based on a lived experience that resonates with the audience.

    There is an unexpected plot twist when Terry uncovers a hidden family secret in the process of seeking mentorship from one of his teachers. Teyana Taylor commands the screen as the breakout and takes us on an emotional journey. We empathize with her struggle and the connection to the obstacles Inez faces on a daily basis. We witness her dealing with the hardships of Black motherhood and raising her son. “I’d go to war for you, you know that?

    Against anybody.” Taylor is so passionate and palpable during her delivery making a speech about maternal instinct that we wholeheartedly believe every word. These burdens include a range of problems from leaky ceilings, busted pipes and money woes. being impoverished in one of the most expensive cities in the world trying to make ends meet.

    Grade : A

    A Thousand and One is now playing in theaters.

  • M3GAN: The BRWC Review

    M3GAN: The BRWC Review

    There is a new killer doll in town and her name is M3GAN. M3GAN is an acronym for Model 3 Generative Android. Screenwriter Akela Cooper dreamt up this satirical story about an AI robot, that looks like a perfectly coiffed mini version of Amanda Seyfried from Mean Girls. This humanoid is more technologically advanced than Chucky from Child’s Play or Annabelle who both were the focus of successful horror franchises.

    M3GAN is the creation of brilliant roboticist, Gemma, played by Allison Williams from Get Out and Girls.  The story unfolds as we meet her nine year-old niece Cady (Violet McGraw) who is traveling in the backseat of a car on the way to a ski trip with her parents. Cady is obsessed with the new Purrpetural Petz toy that her aunt developed for Funki toy corporation. This obnoxious Furby type robot talks and farts on demand, while expelling little poop pellets after it is fed with an iPad.

    Cady’s parents get so preoccupied with how much screen time she is wasting playing with her fake pet, that they forget to pay attention to the road. She is instantly orphaned after their car gets involved in an accident and slams into a snow plow. Gemma is granted custody of Cady with the new responsibilty of raising a child. We are immediately given the impression that Gemma is living a single solitary life when she enters her home with her niece by her side. They are greeted by an Elsie robot at the door that gives Gemma an update that she has unread Tinder messages to retrieve. Gemma wants to help her niece feel better. But initially all she can do is instruct her not to play with some collectible toys that she has on a shelf.

    Gemma decides to create a M3GAN prototype as a companion to help Cady deal with the grief and tragic loss of her parents. Gemma stages an impromptu demonstration of Cady interacting with M3GAN for Funki CEO David Lin (Ronny Chieng). The artificial being is paired with the child and given the imperative that she must protect Cady from physical and emotional harm. David decides to make more M3GAN dolls after he witnesses her cheering up Cady by drawing a perfect self portrait. He feels the company has made a slam dunk when he declares. “We’re gonna kick Hasbro’s dick!”

    Gemma states that her initial goal in making M3GAN was to prevent her niece from being lonely. The biggest selling point is “with M3GAN around she will take care of the little things so you can spend time on the things that matter.” M3GAN is the perfect companion who does everything from read bedtime stories to monitor the child as a surrogate parent 24/7. She reminds Cady to flush the toilet, wash her hands and to use a coaster with a science lesson.

    Her coding has designed her to be a best friend, who will sometimes serenade Cady with an impromptu acapella version of Titanium by Sia or play Toy Soldiers on the piano. The problem arises when M3GAN begins to override her internal commands. Director Gerard Johnstone balances humor with a mixture of camp to create a cautionary tale about the perils of using technology to raise children.

    The physical performance of child actor Amie Donald as M3GAN, coupled with the voice of TikTok famous actress Jenna Davis, enhance the creepiness factor of the life like doll. There have been other cinematic allegories about tech that can go haywire. Stanley Kubrick tried to warn us when HAL 9000 staged a mutiny in 2001: A Space Odyssey. Ash portrayed by Iam Holm went beserk in Ridley Scott’s Alien, which is why Ripley didn’t trust cyborg Bishop in James Cameron’s Aliens.

    Ex Machina by Alex Garland took a closer look at the relationship between man and machine with a beautiful self aware robot named Ava (Alicia Vikander) who is  pondering the totality of her existence with Caleb Smith (Domhnall Gleeson) and Nathan Bateman (Oscar Isaac). After Yang focuses on the similar concepts of consciousness existing in synthetic human beings outside of certain parameters.

    M3GAN is making a killing at the box office. The film has a $12 million dollar budget and already grossed over $30 million dollars during the opening weekend. The organic marketing campaign included a creepy doll Twitter feud with Chucky, who sent a warning tweet to M3GAN saying, “everybody’s tryna be me.” Plus the #MeganDanceChallenge with the killer robot gyrating in a death dance racked up 1.3 billion TikTok views.

    M3GAN has some laughs paired with the spookiness of a Blumhouse/Atomic Monster production. This enables it to not feel like a traditional horror film as the body count rises. The film is PG-13 so the scares exist, but the bloodiness is a bit diminished. Gemma made a promise that M3GAN would never run out of ways to keep a child preoccupied or run out of patience. “She is more than just a toy. She is part of the family.” She concluded while finalizing her Funki Toy company pitch. Some of the kills are foreshadowed so we immediately see the clues. It just takes some time for Gemma and her team to come to the realization that her S.T.E.M education helped to generate an indestructible 4 foot tall Frankenstein like Terminator.

    Grade: B

    M3GAN is now playing in theaters.

  • Women Talking – The BRWC Review

    Women Talking – The BRWC Review

    Women Talking directed by Oscar nominated screenwriter Sarah Polley, is based on true events that occurred in a Mennonite community. Polley adapted the film set in 2010 from the best selling novel Women Talking by Miriam Toews. The actual event involved over 100 women and girls in the community. They were being drugged and sexually assaulted in the night by the male members of their colony from 2005 to 2009. The women were gaslit and told by the men that their injuries were due to “ghosts” and “demons”. The violence is not shown on screen. But the emotional score by Oscar winning Icelandic composer Hildur Guðnadóttir sheds light on the traumatic aftermath of each attack.

    One day Salome Friessen catches one of the men and injures him with a weapon. The man confesses to his crimes while naming other accomplices who have engaged in similar offenses. The police are involved for the first time in the history of the town. The men are led away, but this leaves the women with only 48 hours to determine their future.  Their path is explained via a voice over. “We were given two days to forgive the attackers before they returned. We hardly knew how to read or to write. But that day we learned how to vote.” A group of women retreat to a hayloft to have a debate and vote for the first time in their lives. Polley has assembled a stellar cast which includes Rooney Mara (Ona Friessen), Jessie Buckley (Mariche Loewen), Frances McDormand (Scarface Janz), Judith Ivey (Agata), Sheila McCarthy (Greta) and Ben Whishaw (August).

    The women in the community are illiterate. That is why they are joined by school teacher August who takes notes for their historic meeting. August represents the potential goodness of the Mennonite men and he aids them because he is in love with Ona. The women determine that they have only three choices. They can do nothing, stay and fight or they can leave. Salome can not hold back her anger and frustration during their discussion. “We know that we have not imagined these attacks!” She yells.  “We know that we are bruised and terrified, infected and pregnant and some of us are dead! We know that we must protect our children. I will become a murderer if I stay.”  The women have been raised as pacifists and are guided by their religion so forgiveness is part of their path to justice.

     “It is a part of our faith to forgive. We have always forgiven those who have wronged us. Why not now?  We will be excommunicated. Forced to leave the colony in disgrace if we do not forgive these men. And if we are excommunicated we forfeit our place in heaven. The only important thing to establish is if we forgive the men so that we will be allowed to enter the gates of heaven.” Scarface Janz interjects.  Ona who is pregnant from a rape is the conscience of the group. She shares her philosophy that despite the fact that her attacker impregnated her she does not consider him to be a monster. She will love her unborn child and sees the humanity and innocence in the perpetrator as well as future generations.  “Surely, there must be something worth living for in this life not only the next.” Ona ponders. “We cannot forgive because we are forced to.  We are not all murderers. Why does love. The absence for love, the need for love result in so much violence? ” Ona does not see the males of their commune as criminals who deserve to be punished. This community does not have a criminal justice system. She feels that if the male population are raised to be kind then they can change. “Hope for the unknown is good. It is better than hatred of the familiar. We cannot endure any more violence. How would you feel if in your entire life. It never mattered what you thought? We liberated ourselves. We will have to ask ourselves who we are.”

    Ona’s position shows that despite her current situation being with child as the result of a sexual assault that all life is precious. She has a staunch pro life outlook with her only option based on her faith is to give birth and love the child of her abuser.  As the discussion continues there is a point where the women try to figure out if there is any way to change the patriarchy and improve their future.  “Men have taught the lesson of power to the boys. And they have been excellent students.” Agata states. “But they are children and they can be taught.” August reassures the women. The movie is shot in desaturated tones to show that although their present looks bleak for the women there is the potential for hope. The beliefs of these women does not reflect modern society, where a female Vice President can exist, but they do live in a microcosm without running water or electricity. The film unfolds like a play giving a masterclass on the Socratic method.

    Women Talking gives a voice to the voiceless women of the religious sect, while addressing the serious subject matter of sexual assault, domestic violence and PTSD related trauma caused by abuse.

    Grade : B

    Women Talking is now playing in select theaters and everywhere in January.

  • A Man Called Otto – The BRWC Review

    A Man Called Otto – The BRWC Review

    Tom Hanks stars in A Man Called Otto as a grumpy and perpetually disgruntled old man. Swiss and German filmmaker Marc Forster helms this American remake of a Swedish film based on the New York Times bestselling novel A Man Called Ove by Fredrick Backman. Otto Anderson is a lonely sixty something widower, with a short temper, who likes to be politically incorrect to others. Tom Hanks has been fondly known as the “nicest guy in America” for generations. I have to admit it takes a bit of getting used to seeing him portray a cranky curmudgeon.

    Sometimes Otto channels his gruff personality by throwing harsh words at everyone around him including the neighbors in his gated community as he makes his daily rounds to inspect the vicinity. “Don’t you let that little rat dog piss on my walkway again!” Otto yells at a young woman who is guiding her pet dog on a leash. He also hurls other insults at the lady on another encounter by saying she has more diseases than her canine. These are the times including one incident where Otto beats up Beppo the clown during a hospital visit where he acts more like Clint Eastwood in Gran Torino instead of a lovable charmer.

    Otto has a list of people he doesn’t like including an ongoing feud with a Dye & Merica Real Estate agent played by comedian Mike Birbiglia. The man constantly blasts loud rap music in his car, while always leaving the latch open to the main enclave. This character represents the corporate greed and dishonesty of the “white shirts” who are depicted in the international film. The Swedish movie included more backstory about Ove’s losses including the tragic death of his father who was struck by a train. We see the cruelty of “white shirts” who let his house burn down to the ground leaving him homeless because they wanted to develop his land, along with his anger about a debilitating accident involving his wife. These things alone are enough for an audience to understand his cynicism and makes the payoff of him contemplating suicide by getting struck by a train even more unsettling. It is a natural position for someone to take when they are depressed and have been defeated by the world.

    In the American adaptation Dye & Merica wants to buy everyone out of their homes by using unscrupulous tactics, but Otto has made it his mission to protect his property. The loss of his wife Sonya prompts him to frequently visit her grave. He engages in ongoing conversations with her sharing updates about his life.

    “The whole neighborhood is falling apart these days.” He informs his deceased lover. It is due to Sonya’s death that he has made a plan to kill himself to join her. There are some very dark moments in the story where Otto makes several attempts to take his own life using various items because he suffers from suicidal ideations. The addition of new neighbors moving in next door opens up the narrative. Mexican actress Mariana Treviño is the standout as a pregnant thirty something named Marisol. She is raising her two daughters with her husband Tommy (Manuel Garcia – Rulfo).

    The family arrives just in time to give Otto a sense of purpose and to imbue him with a renewed hope since he has given up on living. Marisol brings Otto some food that is representative of her Latin culture as a welcome present. He slams the door in her face. But she sticks her foot out and tells him off giving him a piece of her mind. “Are you always this unfriendly?” She ponders. “I am not unfriendly.” Otto replies. “Ok. You’re not. Every word you say is like a warm cuddle.” He has met his match and their bond has been created. The chemistry between Tom Hanks and Mariana Treviño is what helps the film as Otto eventually earns a spot in a surrogate family. He drives Marisol to the hospital to help her husband, gives her driving lessons and babysits her children.

    We learn more about Otto’s backstory through flashbacks that are triggered by each of his suicide attempts. The American adaptation which is produced by Hanks and his wife Rita Wilson through their company Playtone features their son,Truman Hanks, playing a younger version of Otto in the movie. Otto tries to join the army, but he is rejected because of his health. He spots his future wife Sonya (Rachel Keller), while waiting for a commuter train and tries to return her book after she drops it. They fall in love and eventually marry. There is one scene involving  Truman as young Otto in a hospital at Sonya’s bedside that unfolds exactly like one from She’s Having A Baby. I wasn’t expecting to see a reference to the John Hughes film including the same Kate Bush song,This Woman’s Work, to highlight a pivotal emotional moment of loss.

    Some of the scenes from the original film remain intact, while other changes have been made to shape the story. Otto is given the responsibility to raise a stray cat after Marisol finds it freezing in a yard. I believe that the Swedish film included more depth and nuance than A Man Called Otto.

    There are many plot points that were crafted to give leading man Tom Hanks more screen time.  He eventually becomes an empathetic character as his connection to Marisol grows. A Man Called Otto is an enjoyable watch if you don’t mind seeing Tom Hanks play against type. Just be prepared as a fan to see Hanks hate on his neighbor for buying a Japanese car or threatening a driver during an act of road rage. Overall the film champions themes about love, family and the importance of community.  

    Grade: B

    A Man Called Otto is now playing in NY and LA  opening in theaters everywhere on January 6th.