When my husband got this from Netflix I was not enthusiastic, the idea of watching a grumpy, old Clint Eastwood didn't thrill me. But I was pleasantly surprised, the movie was well made and not as contrived as I expected it to be. It is a touching story about how Clint comes to appreciate and help his Hmong neighbors. I though it did a good job of showing the subtle transformation in Clint's character, and the transformation was minor enough that it seemed realistic. I thought the film was unusually well written and well worth renting.
Gran Torino
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It took me a very long time to build up the motivation to see this movie. Clint Eastwood is not my favorite and even though I loved Million Dollar Babies, I find it very difficult finding any sort of enthusiasm for Eastwood.
I'm glad I did cave and decide to see this movie. It's about Walt, a Korean War veteran, who's just lost his wife and his children don't seem to care very much about him. He ends up alone and living in a neighborhood where he hates his neighbors.
Walt's neighbor Thao gets pressured by his cousin to join their gang. Not really wanting to but going along with it anyway, Thao's initiation into the gang is to steal Walt's beloved 1972 Grand Torino. Walt catches Thao in the act and his family is devastated and try to make it up to Walt.
The gang takes retribution against Thao's family and Walt finds himself more and more entwined into his neighbors lives. Until the gang goes too far.
This movie just goes to show you that your enemy may in fact be your best friend. A very bitter sweet movie.
I'm glad I did cave and decide to see this movie. It's about Walt, a Korean War veteran, who's just lost his wife and his children don't seem to care very much about him. He ends up alone and living in a neighborhood where he hates his neighbors.
Walt's neighbor Thao gets pressured by his cousin to join their gang. Not really wanting to but going along with it anyway, Thao's initiation into the gang is to steal Walt's beloved 1972 Grand Torino. Walt catches Thao in the act and his family is devastated and try to make it up to Walt.
The gang takes retribution against Thao's family and Walt finds himself more and more entwined into his neighbors lives. Until the gang goes too far.
This movie just goes to show you that your enemy may in fact be your best friend. A very bitter sweet movie.
I don't care what anyone else thinks about this film, I loved it! I've finally gotten around to seeing it, and it was really brilliant! I like Clint Eastwood and his films a lot... and so does my mum. So this was a must to see in my household! It was REALLY brilliant. There is no way I could simply express how amazing I thought this film was. I love controversial characters that are rude, prude, and all around just unaccepted for their behavior. Because really... isn't that what this world is? How many people really aren't rude, prude, and/or unaccepted for behavior they do? Clint Eastwood's character (Walt) definitely shows this. A cranky old racist American man who refuses to leave his house after his wife dies. Characters like that are what make films worth while.
The ending... oy vey! The ending. It was a huge shocker, but it was brilliant. Completely and utterly brilliant. Just like the rest of the film. Which, again, I'll say I don't care about what other people think of the film. I loved it! I would definitely buy this film given the chance.
The ending... oy vey! The ending. It was a huge shocker, but it was brilliant. Completely and utterly brilliant. Just like the rest of the film. Which, again, I'll say I don't care about what other people think of the film. I loved it! I would definitely buy this film given the chance.
Before drifting off into the film let me set the precursor bar reasonably high. I love Clint Eastwood, I think he chooses roles well, all beit they are often different facets of the same broken down, hard working man, jewel. His directorial leadership is well defined, his films moving with clarity, emotion, strong writing, and even stronger characters. I would suggest Letters from Iwo Jima as a great high light in a long and lustrous filmography. Since this I have this view of his skill not only will I forgive many minor lapses but my expectation is for relative perfection. Any less of a five star movie from Eastwood at this point in his carrer would seem a mistep and if it was way off the mark it would certainly be a failure. Enter Gran Torino.
I loved it, Gran Torino is an excellent film and I am glad I finally got to see it, bought the DVD this weekend. That said, I do not think this is a film for an unmature audience. There is rather graphic dialogue and at in a couple of scenes rather cutting violence. However, both the seemingly unending racist torent flowing from the lead character, Walt Kowalski, and the violence portrayed by street gangs are needed and explained in this film about redemption, growth, life and death.
I will refrain from giving an entire overview of the film here as there are other sites for such plot spoilage but the keystone to the stories movement is Kowalski's relationship with his neighborhood, him being a Korean war veteran and his community slowly becoming the refuge for the Hmong people in what we are led to believe as the quickly deteriorating area of Highland Park, Michigan. Highland Park is almost completely surrounded by Detroit and has seen a caucasian diaspora with Kowalski being left as the remaining white person on the block.
There is with out question language in this movie that reminded me that racial hatred is still a deep rooted issue in America. It is also a unique study in how a transplant community, such as the Hmong, do whatever it takes to make it, most of the time via legal avenues, at times not. Though those that take to illegal enterprise do so not typically because of their heritage but due to the overwhelming desire for an escape from a life that doesn't seem to have a formalized destination.
Beyond the tension created by Kowalski's character and his neighbors, there are also a few unique sub plots revolving around Walt's family, his relationship to his Priest (read religion/God) and his barber who represents a dying way.
The soundtrack fit in with what I have come to expect from Eastwood, a little subservient to the movie but still rich and playing an important role. The cinematic efforts along with the film editting is tremendous. Many of the shots have just perfect spacing and fill the lense view with stirring images.
This movie really blew me away. It filled a gasp in my lungs, wondering if Eastwood himself would ever get back on screen to play the tough guy with really serious problems. The movie is great for sparking discussions but should be watched with mature supervision if being seen with kids. I don't think children less than 10 or so will understand a lot of what is going on so I definitely think of this movie as a great, for mature audiences only, film.
I loved it, Gran Torino is an excellent film and I am glad I finally got to see it, bought the DVD this weekend. That said, I do not think this is a film for an unmature audience. There is rather graphic dialogue and at in a couple of scenes rather cutting violence. However, both the seemingly unending racist torent flowing from the lead character, Walt Kowalski, and the violence portrayed by street gangs are needed and explained in this film about redemption, growth, life and death.
I will refrain from giving an entire overview of the film here as there are other sites for such plot spoilage but the keystone to the stories movement is Kowalski's relationship with his neighborhood, him being a Korean war veteran and his community slowly becoming the refuge for the Hmong people in what we are led to believe as the quickly deteriorating area of Highland Park, Michigan. Highland Park is almost completely surrounded by Detroit and has seen a caucasian diaspora with Kowalski being left as the remaining white person on the block.
There is with out question language in this movie that reminded me that racial hatred is still a deep rooted issue in America. It is also a unique study in how a transplant community, such as the Hmong, do whatever it takes to make it, most of the time via legal avenues, at times not. Though those that take to illegal enterprise do so not typically because of their heritage but due to the overwhelming desire for an escape from a life that doesn't seem to have a formalized destination.
Beyond the tension created by Kowalski's character and his neighbors, there are also a few unique sub plots revolving around Walt's family, his relationship to his Priest (read religion/God) and his barber who represents a dying way.
The soundtrack fit in with what I have come to expect from Eastwood, a little subservient to the movie but still rich and playing an important role. The cinematic efforts along with the film editting is tremendous. Many of the shots have just perfect spacing and fill the lense view with stirring images.
This movie really blew me away. It filled a gasp in my lungs, wondering if Eastwood himself would ever get back on screen to play the tough guy with really serious problems. The movie is great for sparking discussions but should be watched with mature supervision if being seen with kids. I don't think children less than 10 or so will understand a lot of what is going on so I definitely think of this movie as a great, for mature audiences only, film.
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I do think this was the perfect Daddy-daughter date movie, thus I really enjoyed seeing it with my Dad. We both had the same laughs at Clint Eastwood’s grim humor, and his grisly tone. We both laughed at the way his character attempted to teach a young Korean boy how to be a “man,” and we both definitely laughed during the credits, when Clint Eastwood sang, yes sang, “Gran Torino,” for a good two minutes before it thankfully transitioned to the fresher (and more audible) voice of Jamie Cullem.
I liked this movie because it was both somewhat “feel good,” but also had a bittersweet ending and a lot of the rough edges and issues for which Eastwood is known. It explored the most atrocious, and some of the most touching moments in a racially tense situation. Despite the atypical Eastwood softness and emotion that transpired, the nitty gritty reality kept me from choking on fluff. Some of the acting was pretty ridiculous, however, and the story line wasn’t as strong as it could have been.
Overall, though, this was another respectable perspective on racism. I had heard “Gran Torino” described as “Crash, only not as good and more crude.” I don’t necessarily agree, but “Gran Torino,” like “Crash,” did address racial violence and the idea that tolerance is the only way to avoid violence. Even if you hate the guys next door.
I liked this movie because it was both somewhat “feel good,” but also had a bittersweet ending and a lot of the rough edges and issues for which Eastwood is known. It explored the most atrocious, and some of the most touching moments in a racially tense situation. Despite the atypical Eastwood softness and emotion that transpired, the nitty gritty reality kept me from choking on fluff. Some of the acting was pretty ridiculous, however, and the story line wasn’t as strong as it could have been.
Overall, though, this was another respectable perspective on racism. I had heard “Gran Torino” described as “Crash, only not as good and more crude.” I don’t necessarily agree, but “Gran Torino,” like “Crash,” did address racial violence and the idea that tolerance is the only way to avoid violence. Even if you hate the guys next door.
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"Gran Torino" may just be the most controversial film of the season. Within 12 hours of having seen it, I'd already gotten in two arguments about whose was the worst performance in it.
For those unfamiliar, the film is about a curmudgeonly racist coot played by Clint Eastwood whose steadfast intolerance starts to recede when he is befriended by his new neighbors, a Hmong family (that the movie is entitled "Gran Torino" and not "Among the Hmong" is a tragically missed opportunity of epic proportions) that includes two teen siblings, Thao, played by Bee Vang, and Sue, played by Ahney Her, and their colorful names are the bulk of what they bring to the table. I came away convinced that Her merited the Worst Performance kudos, but others were insisting that Vang edged her (Her?) out. It's certainly a debatable point, but I remain firmly in the Her camp, primarily because Vang's character is fairly taciturn, while Her is forced to utter the movie's most truly godawful dialogue, particularly when she sasses some black gangbangers who are taunting and preparing to rape her, just like everyone else in the world would behave in that situation, with the possible exception of everyone else in the world.
The actors, of course, can hardly be blamed for the crappiness of the dialogue, which comes courtesy of Nick Schenk, a first-time screenwriter, just as most of the Hmong actors are untrained rookies. So Eastwood, who also directs, is practically the only one involved who seems to have any experience with the craft of moviemaking, the result being akin to watching a grammar school play, written by the students, in which the teacher also plays the lead role. This is particularly painful in that Eastwood the director simply refuses, time and time again, to do any sort of development or reworking of the scripts he takes on (is this in the interest of time, or mere laziness?), so every amateurish, neophyte, totally friggin' obvious scriptual faux-pas is captured on celluloid in all its hideous glory. Even the world's most inept screenwriting teacher would have told Schenk that, for example, it is rather unnecessary to have Eastwood remark to himself in the bathroom mirror about his neighbors, "I'm closer to these people than I am to my own damn family", a sentiment already obvious to all but the most wet-brained audience member. But in Clintville, it makes the cut!
Anyway, Clint befriends the Hmongs, the Hmongs are harassed by gangbangers, Clint finally takes matters into his own hands, and, since this is the enlightened 21st Century Clint and not the bad-ass 1970's "Dirty Harry" Clint, he climatically confronts the gangbangers, and...
SPOILER ALERT
(IF YOU CARE.)
(AND IF YOU DO...WHY?)
...tricks them into killing him by pretending to reach for his gun, and as the gangbangers are led away, we are assured by a by-standing extra that "They'll be going to prison for a long, long time." Which I remain unconvinced of, considering that they had justifiable reason to believe that Clint (who has by this point spent most of the movie drawing his gun at the drop of a hat) WAS reaching for it. But it's hard to gripe too hard about this point, since it has done us the huge favor of bringing us to the movie's end: Clint has sacrificed himself for the greater good, just like Jesus would have done, if Jesus had been a grouchy old racist. Which reminds me that I haven't even mentioned the character of the local pastor, played by Christopher Carley, who ALSO enters into the "Worst Performance in the Movie" debate, and sadly, he doesn't even have the "non-professional" defense to fall back on. In fairness, though, I think the part was unplayable, mainly because it sucks.
Ultimately, only Eastwood the actor emerges unscathed from this mess, as he has cast himself in a suitable and occasionally even amusing role that fits his cantankerous, deadpan persona like a comfortable old shoe, a shoe that uses the word "gooks" a lot. Now if only Eastwood the director could find a halfway decent script for this guy, they'd be quite the team.
For those unfamiliar, the film is about a curmudgeonly racist coot played by Clint Eastwood whose steadfast intolerance starts to recede when he is befriended by his new neighbors, a Hmong family (that the movie is entitled "Gran Torino" and not "Among the Hmong" is a tragically missed opportunity of epic proportions) that includes two teen siblings, Thao, played by Bee Vang, and Sue, played by Ahney Her, and their colorful names are the bulk of what they bring to the table. I came away convinced that Her merited the Worst Performance kudos, but others were insisting that Vang edged her (Her?) out. It's certainly a debatable point, but I remain firmly in the Her camp, primarily because Vang's character is fairly taciturn, while Her is forced to utter the movie's most truly godawful dialogue, particularly when she sasses some black gangbangers who are taunting and preparing to rape her, just like everyone else in the world would behave in that situation, with the possible exception of everyone else in the world.
The actors, of course, can hardly be blamed for the crappiness of the dialogue, which comes courtesy of Nick Schenk, a first-time screenwriter, just as most of the Hmong actors are untrained rookies. So Eastwood, who also directs, is practically the only one involved who seems to have any experience with the craft of moviemaking, the result being akin to watching a grammar school play, written by the students, in which the teacher also plays the lead role. This is particularly painful in that Eastwood the director simply refuses, time and time again, to do any sort of development or reworking of the scripts he takes on (is this in the interest of time, or mere laziness?), so every amateurish, neophyte, totally friggin' obvious scriptual faux-pas is captured on celluloid in all its hideous glory. Even the world's most inept screenwriting teacher would have told Schenk that, for example, it is rather unnecessary to have Eastwood remark to himself in the bathroom mirror about his neighbors, "I'm closer to these people than I am to my own damn family", a sentiment already obvious to all but the most wet-brained audience member. But in Clintville, it makes the cut!
Anyway, Clint befriends the Hmongs, the Hmongs are harassed by gangbangers, Clint finally takes matters into his own hands, and, since this is the enlightened 21st Century Clint and not the bad-ass 1970's "Dirty Harry" Clint, he climatically confronts the gangbangers, and...
SPOILER ALERT
(IF YOU CARE.)
(AND IF YOU DO...WHY?)
...tricks them into killing him by pretending to reach for his gun, and as the gangbangers are led away, we are assured by a by-standing extra that "They'll be going to prison for a long, long time." Which I remain unconvinced of, considering that they had justifiable reason to believe that Clint (who has by this point spent most of the movie drawing his gun at the drop of a hat) WAS reaching for it. But it's hard to gripe too hard about this point, since it has done us the huge favor of bringing us to the movie's end: Clint has sacrificed himself for the greater good, just like Jesus would have done, if Jesus had been a grouchy old racist. Which reminds me that I haven't even mentioned the character of the local pastor, played by Christopher Carley, who ALSO enters into the "Worst Performance in the Movie" debate, and sadly, he doesn't even have the "non-professional" defense to fall back on. In fairness, though, I think the part was unplayable, mainly because it sucks.
Ultimately, only Eastwood the actor emerges unscathed from this mess, as he has cast himself in a suitable and occasionally even amusing role that fits his cantankerous, deadpan persona like a comfortable old shoe, a shoe that uses the word "gooks" a lot. Now if only Eastwood the director could find a halfway decent script for this guy, they'd be quite the team.
Here's a movie about a grumpy old man who chooses to reside in a city where he's not wanted, nor does he fit in. Raise in the olden days, he's still a stickler with the racial slurs. It seems that no one can crack this guy and he's just not gonna' budge. Later in the movie you find out that this guy really does have a heart. Taking the role model position for a young boy, the grumpy old man begins to realize that there really are better things in life than just being grumpy. The trouble occurs when a local gang begins to torment his neighbors. Then things get ugly. Clint Eastwood did a great job acting, directing, and even producing this film. Go ahead and check this one out.
In what some think might be Clint Eastwood's final movie before retiring 'Gran Torino' brings us 'Dirty Harry,' sort of. Here Mr. Eastwood plays Walt Kowalski, an aged, retired Korean War Veteran who's wife has just passed away. He finds himself the last remaining white guy in a neighborhood that has changed with the influx of Hmong neighbors.
Walt is a cranky, racist, glowering, glaring, growling, spitting old coot. In a confrontation with several gang members he takes an awkward, nerdish, shy, lonely teenaged neighbor under his wing in an unlikely friendship since the kid tried to steal his 'baby' a '72 Gran Torino. Clint Eastwood can still make anything he says sound intimidating, even at 78!
When he growls lines like, "Get off my lawn...." or "I blow a hole in your face I sleep like a baby..." you know he can, he WILL. Yet we see him as alone, dealing with the problems of old age, the health issues, the lack of respect from his own children and grandchildren, and a changing world that has seen his type come and go.
It was strange hearing Mr. Eastwood, Dirty Harry himself, being called 'grandpa.' It felt kind of sad seeing him as his kids talked about putting him in a retirement home. Yet, Mr. Eastwood has accepted aging with grace unlike other actors near his age who still think they can leap from moving vehicles and do other stunts.
The young actors who played his neighbors were first timers Bee Vang as Thao Vang Lor and Ahney Her as his sister Sue. Even though there were a few moments where the acting wasn't as polished as it could have been, Thao's portrayal of a lonely friendless boy was quite convincing. Ahney was also good as the older sister who isn't afraid to speak her mind in the face of one cantankerous old fart of a neighbor.
The reason I don't give it a full five stars is that the story played out according to other similar movies I'd seen before, the ending was something I could see coming well before it was shown. Still, I'd recommend seeing this as it would be a nice way to see Mr. Eastwood on the big screen one last time.
Walt is a cranky, racist, glowering, glaring, growling, spitting old coot. In a confrontation with several gang members he takes an awkward, nerdish, shy, lonely teenaged neighbor under his wing in an unlikely friendship since the kid tried to steal his 'baby' a '72 Gran Torino. Clint Eastwood can still make anything he says sound intimidating, even at 78!
When he growls lines like, "Get off my lawn...." or "I blow a hole in your face I sleep like a baby..." you know he can, he WILL. Yet we see him as alone, dealing with the problems of old age, the health issues, the lack of respect from his own children and grandchildren, and a changing world that has seen his type come and go.
It was strange hearing Mr. Eastwood, Dirty Harry himself, being called 'grandpa.' It felt kind of sad seeing him as his kids talked about putting him in a retirement home. Yet, Mr. Eastwood has accepted aging with grace unlike other actors near his age who still think they can leap from moving vehicles and do other stunts.
The young actors who played his neighbors were first timers Bee Vang as Thao Vang Lor and Ahney Her as his sister Sue. Even though there were a few moments where the acting wasn't as polished as it could have been, Thao's portrayal of a lonely friendless boy was quite convincing. Ahney was also good as the older sister who isn't afraid to speak her mind in the face of one cantankerous old fart of a neighbor.
The reason I don't give it a full five stars is that the story played out according to other similar movies I'd seen before, the ending was something I could see coming well before it was shown. Still, I'd recommend seeing this as it would be a nice way to see Mr. Eastwood on the big screen one last time.
