The Tomatometer rating – based on the published opinions of hundreds of film and television critics – is a trusted measurement of movie and TV programming quality for millions of moviegoers. It represents the percentage of professional critic reviews that are positive for a given film or television show.
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The Tomatometer is 60% or higher.
The Tomatometer is 59% or lower.
Movies and TV shows are Certified Fresh with a steady Tomatometer of 75% or higher after a set amount of reviews (80 for wide-release movies, 40 for limited-release movies, 20 for TV shows), including 5 reviews from Top Critics.
Percentage of users who rate a movie or TV show positively.
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.
Gran Torino grinds through its gears in an efficient if generally graceless manner, with occasional blasts of violence interrupting a film that is content to be the cutest movie Clint's done since his days of co-starring with an orangutan.
Gran Torino is very much about the thing Eastwood knows most intimately -- movies. Like Unforgiven, his neo-Western classic, this film ponders the value of the yarns we spin about heroes and lawless encounters.
If you can survive the F-bombs and the near-constant ethnic invective, Gran Torino is not to be missed, if only as the gutsy, thoroughly unexpected valedictory of an icon fully willing to spend every bit of his considerable capital.
The film is neither elegant nor subtle. Both Eastwood's performance and his direction veer from broad melodrama to broader comedy and back again. But the film boasts crusty humor, heart and conscience.
Eastwood's foursquare directorial aesthetic tends to heighten, rather than camouflage, a screenplay's shortcomings. He may well win the gold for this one. But we'll have to assume he's winning it for richer assignments en route.
These spectral figures, totems of masculinity and mementos from a heroic cinematic age, are what make this unassuming film small in scale if not in the scope of its ideas -- more than just a vendetta flick.
Eastwood directs with his usual relaxed pace and bursts of intensity, a style that's pleasing to watch -- and which, also as usual, never fully compensates for any shortcomings of the script handed to him.
Part modern-day Western, part vigilante flick, part after-school special, Clint Eastwood's oddball drama Grand Torino remains entertaining right up to the end credits, during which you can scratch your head and wonder what you've just seen.