Over almost four decades of Hollywood stardom, Tom Hanks has built a reputation as America’s sweetheart.

In Columbia Pictures’ “A Man Called Otto,” released in theaters nationwide Jan. 13, Hanks is given the rare chance to play the curmudgeon, and he thrives in it. While “Otto” might not be the greatest film of the past year, having been released in a limited capacity on Dec. 30, it is certainly one of the most heartfelt.

One of the critiques of “Otto” that I saw the most was that Hanks’ lead performance was not convincing. I wholeheartedly disagree. I found his Otto Anderson very convincing, particularly when he was yelling at Marisol.

Even when he wasn’t yelling, though, I could see the humanity behind every scowl, and hear the emotion every time Anderson recites the flashbacks from memory. Flashbacks are a great tool to elicit an emotional response from the viewer, and “Otto” uses them to full effect, with one particular sequence set to Kate Bush’s “This Woman’s Work” that seems like a conspiracy by the tissue companies.

While Hanks is a large part of the success of “Otto,” the supporting cast also plays an important role in the film. Armed with a wit almost as quick as his and determined to win his heart, Mariana Treviño’s Marisol is more than a match for Anderson. Anderson gives her a ladder, which her husband falls off of, and she gives him a gateway to the rest of his life.

Hanks’ real-life son, Truman, and Rachel Keller bring a quiet resolve to the flashbacks, which reveal a lot about the character of Anderson, who himself divulges very little. Cameron Britton’s Jimmy similarly exudes a warm energy in the present.

Though “Otto” deals with heavy subject matter at times, such as Anderson’s multiple failed suicide attempts, there are also plenty of humorous parts. My favorite scene was when the doctor informed Marisol about Anderson’s condition, saying that his heart was too big, and Marisol snorted in response. She then tells Anderson, “You’re really bad at dying.” She has no idea.

My other favorite scene was when Marisol’s young daughters informed him about “the goddamned useless dishwasher” and said that their father, Tommy, would fix it, except that he’s “not allowed to open windows anymore” after the ladder incident. Anderson’s interactions with the twins also serve to humanize him, similarly to the gray stray cat he acquires after initially being put off by it.

The flashbacks aren’t the only things that set the scene in “Otto.” Thomas Newman’s minimalistic score makes impressive use of guitars that range from reflective to bluesy, while Matthias Koenigswieser’s cinematography perfectly captures a lush, snowy Midwestern suburb.

While the narrative structure of “Otto” can be considered predictable, that predictability is part of its charm. As Anderson delves further into curmudgeonly status, this makes viewers root for him all the more, particularly because it’s Hanks.

The only problem I have with Otto is that, for all the times Anderson says that his wife, Sonya (Keller) was his reason for living, we never see her after she becomes paralyzed. For a film that goes out of its way to make Anderson not a bigot in his grumpiness, that seems oddly ableist.

Overall, “A Man Called Otto” is a charming tale about the power of humanity and how sometimes one person is all it takes.