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Though the film feels like a requiem, Kowalski's heart is still defiantly beating.
A brilliant commentary on a lot of earlier Clint Eastwood roles.
If Mt. Rushmore were to make a movie, it would probably look a lot like a Clint Eastwood movie.
It is familiar, but only to a point. Suddenly, that point is past and much more serious questions come up, questions of responsibility, of vengeance, of the efficacy of blood for blood.
This is among his lesser recent movies, which doesn't diminish its likability. In fact, it's pleasing to see Eastwood working the middle of the emotional register for a change.
Eastwood's second film this year is a compelling study of anger and violence and the guilt and shame that shadow them. He has sat high in the saddle for decades, but rarely has he ridden so tall as in the driver's seat of Gran Torino.
Covers a lot of ground as it rolls: religion, the toll of war, mortality, what it means to be a man.
Twenty minutes in, we know Walt is eventually going to give the car to the kid. The only question is how.
This would be a fitting conclusion to a long and illustrious career.
If the rumors of this being Eastwood's final turn in front of the camera are true, then Gran Torino is a brilliant send off.
Gran Torino is not Eastwood's best film as director or actor but it perfectly encapsulates his onscreen persona and his brilliant directorial career.
Gran Torino is less a sleek hybrid than a multigenre pileup.
Even this one-trick predictable pony is worth seeing when Eastwood is riding.
After the clumsy beginning, the deft writing and excellent acting has so sunk you into your relationship with Walt and Sue and Thao that by the end, I loved this movie, but it took a while to snag me.
Un film posé et d'une grande intelligence émotionnelle qui va au-delà des barrières des croyances ou des origines pour défendre une tradition tout simplement humaine.
Take it for what it is: An old guy who gives himself one last juicy role as the flawed, haunted anti-hero, an old guy who's done this so often that he isn't above making himself look silly as well as heroic (he even croons the title song over the ending c
If this is the end of the road for the Man With No Name, it's a memorable, winning way for him to go out.
Less a great film than a fascinating personal testament
Though Eastwood is not above self-deprecation and, here, downright silliness, Gran Torino is no orangutan movie.
Like a new driver learning to operate a manual transmission, director Eastwood's awkward shifting of tones makes the lurching Gran Torino a frustrating ride.
Despite Clint's claim in the first of the extras that: 'It's not really a car picture', you'd be hard pushed not to think that if you only watched the additional material here.
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