🎦 Gran Torino full movie HD download (Clint Eastwood) - Crime, Drama. 🎬
Gran Torino
USA, Germany, Australia
Crime, Drama
IMDB rating:
Clint Eastwood
Christopher Carley as Father Janovich
Bee Vang as Thao Vang Lor
Ahney Her as Sue Lor
Brian Haley as Mitch Kowalski
Geraldine Hughes as Karen Kowalski
Dreama Walker as Ashley Kowalski
Brian Howe as Steve Kowalski
John Carroll Lynch as Barber Martin
William Hill as Tim Kennedy
Chee Thao as Grandma
Choua Kue as Youa
Storyline: Walt Kowalski is a widower who holds onto his prejudices despite the changes in his Michigan neighborhood and the world around him. Kowalski is a grumpy, tough-minded, unhappy old man who can't get along with either his kids or his neighbors. He is a Korean War veteran whose prize possession is a 1972 Gran Torino he keeps in mint condition. When his neighbor Thao, a young Hmong teenager under pressure from his gang member cousin, tries to steal his Gran Torino, Kowalski sets out to reform the youth. Drawn against his will into the life of Thao's family, Kowalski is soon taking steps to protect them from the gangs that infest their neighborhood.
Type Resolution File Size Codec Bitrate Format
1080p 1920x800 px 8962 Mb h264 10738 Kbps mkv Download
HQ DVD-rip 852x356 px 1412 Mb h.264 1500 Kbps flv Download
DVD-rip 640x272 px 1397 Mb mpeg4 1675 Kbps avi Download
iPhone 480x200 px 622 Mb xvid 600 Kbps mov Download
An absolute cinematic gem!
As Clint Eastwood reaches the end of his life, he presents us with yet another performance which is nothing short of legendary. Wishing to preserve the element of surprise, I will not reveal anything by trying to analyse this great work of art.

I will say this. There are similar qualities to his previous work, but I would say that both his directing and acting have reached a level of maturity comparable to that of an excellent wine. The story was compelling and, mixed with the drama was a refined touch of humour; the perfect combination for a pleasant evening.

I would like to finish by thanking Mr. Eastwood for sharing this touching moment with his audience at a time when most of the cinematic "art" produced in Hollywood consists of stunts and bad jokes.
Dirty Harry retires to Detroit
I have always liked Clint and I grew up in the Detroit area so I had high hopes for this film. Unfortunately, the movie did not deliver. It's biggest weakness (and there are many) is its dated story. The 'angry white guy struggles to come to terms with racial diversity' theme was interesting and relevant in the early 1970s (e.g, All in the Family) but it's very tired and predictable now. Within the first few minutes of the film, you just know that Eastwood's character is going to end up being friends with the Asian family next door.

The setting of the film also seemed strangely dated to me. The film showed Eastwood's character all resentful and nostalgic for the time when his neighborhood was all white. However most of those old Detroit neighborhoods began changing 40-50 years ago. The attitudes and reactions of the Eastwood character seemed to belong to someone who was just beginning to experience this change and not someone who had been living with it for 50 years. I think the film would have made more sense if it had been set in the 1960s when these changes were underway rather than today.

Clint does have an aura of timelessness about him and he stills look damn good for a guy his age. However, the math in this movie doesn't work. Clint was just too old for the part which of course should not have been written as a Korean War Vet. Korean war vets are now well into their 70s and 80s. I have a hard time imagining guys this age driving around gang infested neighborhoods in Detroit with a pistol. It's even more implausible to think of such a person leaping out of a truck to face down three thugs on a street corner. But there was Clint doing the 'Dirty Harry' shtick well into his 70s. I found myself cringing in these scenes and wishing that Clint would have had a bit more dignity.

Clint has had an amazing career but this movie clearly shows that he should retire as both an actor and director.
About as good as Hollywood gets
The current average rating of this film is a joke. Top 100 of all time? Wow... I have to say IMDb ratings are usually quite alright. Even if they may be dead wrong in placing films in the top list, they do give a decent indication of whether the film is lousy or good. But when a film like Gran Torino get's 8.4, it just reminds you how the merely good Shawshank Redemption is supposed to be the best film of all time according to the voters.

GT is not a bad film. It's juts mediocre. It's really promising at the start, but once you realize where it's going, with Walt and Tao, the Asian kid, well... It won't disappoint you. It does exactly what you'd expect from a mediocre Hollywood flick and thereby it's very predictable. Clint's acting is not terrible at first, but becomes very clichéd... The storyline itself isn't very believable as it develops. But I suppose it could have been a lot worse.

And by the way, it's pretty funny how every other person of polish descent in Hollywood is a "Kowalski". You'd think there'd be millions of them in present day Poland, but obviously that's not really true.
Thats unquestionably the best word to describe Clint Eastwood. If this is indeed Clint's last hurrah, then its the way to go. Films don't often get to me like this did, but i had something in my eye at numerous points in the proceedings.

Seeing Clint taking care of business one last time was just superb and although the ending may be jarring to long time Clint fans, with a bit of thought it all makes sense.

Clint's character is an unapologetic racist and thats that, i fully understand that some people just cannot accept this, but the film doesn't apologise for it and neither should it. You either accept this aspect of the character and in doing so accept that he's not supposed to be a hero, so why is he talking like that ?

Or realise that in real life people like this exist, who can be good and bad in the same day, but are not solely defined by either behaviour.

There is plenty of warmth in this film and humour, but at its centre is an actor and director who has enjoyed critical and commercial success for nearly 40 years, has redefined genres and broken new ground and has brought me more pleasure than i could have ever thought possible.
Eastwood's towering performance rises above a rare directorial misfire
Clint Eastwood's film-making career has led credulity to the cliché that some things only get better with age, showing a transcendent self-awareness and reflective grasp for supremely genuine emotional storytelling and allegorical commentary on America, and the steadily fading beacons of past moral values. As such, it is difficult to envision a more fitting cinematic project than Gran Torino, addressing traditional Eastwood themes of age, morality and changing times through an unrepentant racist of a protagonist forced to rethink his prejudices when confronted with close interaction of a Hmong teenager after an attempted theft of his prized 1972 Gran Torino. However, despite all initial signs looking exceptionally promising (with Eastwood's vicious growl of "GET OFF MY LAWN" in the film's trailer delightfully hearkening back to the days of Dirty Harry sadistic cool), it is all the more disappointing to see Gran Torino somewhat miss its mark, falling short of the modern masterpiece it easily could have been.

While the juxtaposition of Eastwood's snarling Korean war vet with his neighbours of various ethnicities could have offered for fascinating social commentary and an intriguing allegorical subtext for the state of American culture (using Eastwood's grizzled Walt Kowalski as symbolic for old fashioned values becoming increasingly outnumbered by exterior cultural influences and changing societal values - the American dream of a hard working family man not subverted, but shown to be worn out and fading continually out of touch), Nick Schenk's screenplay far too often only scratches at the surface instead of embracing such themes, an oversimplified bundle chock full of stock stereotypes and unconvincing supporting characters to drive its potentially poignant point home. There are moments which hint at the mature cultural reflection dancing continually out of reach (feeling old and out of touch, Kowalski snarls to himself that he has more in common with his similarly marginalized Hmong neighbours than his materialistic, self-serving sons), but such complexity is not readily apparent on the whole.

The film is by no means un-enjoyable, particularly as an old-fashioned morality tale and odd- couple bonding story (the interplay between Kowalski and his unwitting apprentice Thao has many delightfully hilarious moments), but not as profound or resonant as it feels it should be - an important commentary on gang violence, among others, falls flat due to being pursued through frustrating stereotypes. As such, Eastwood's film lacks the tidy trimming of plot his other features demonstrate, starting out strong but quickly lapsing into cliché and unbelievable characterisation, eventually simply feeling overlong, somewhat rambling and lacking of clear resolution and purpose. Some scenes, beyond simply feeling unnecessary, come across as seemingly unintentionally hilarious (Kowalski's teaching Thao to "man up" by embracing ideologies of cars, hard work - preferably in the trades - and heterosexual romance) in fashion which at times feels a directorial satirical wink, suggesting such traditional values are increasingly fading and out of touch, were it not for Eastwood's emotional focus feeling uncertainly positioned, making the viewer feeling inclined to root for a position they would normally feel inclined to chuckle at.

Furthermore, the treatment of Kowalski himself carries many elements of (seemingly unintentional) near self-parody, acknowledging Eastwood's baggage as a cultural icon, but instead of tastefully incorporating it into the story or subverting it, the image becomes overblown to an almost comical extent at times - as much as the viewer wants to see 78 year old Eastwood beat up gang members, the credibility of it, trained Korean vet or not, is still questionable. The film is also let down by a sagging third act, with an ending grasping at raw sentiment but ending up with excessive sap, and the potentially poignant use of Clint Eastwood himself grumble-singing the film's title tune over the ending credits comes across as less self-reflexively beautiful and more unintentionally silly than it should be.

As such, Eastwood's own performance is not only the main draw of the film, but ultimately its only real draw. However, despite narrative and directorial shortcomings, he as a performer more than carries the slack - his triumphant rendition of unrepentant, grizzled Korean war vet Walt Kowalski is endlessly watchable, as each animalistic snarl, grim spitting out of racial slurs and grimace as he reflects on his own waning physical potential are alternatively hilarious, gripping and touching, managing to take a despicable sack of a man and infuse him with gruff pathos, charisma and sly humour to spare. If the rumours of Kowalski being Eastwood's last acting performance do end up being true, it is certainly a prime example of a silver screen treasure going out on a high note. The rest of the cast fail to not only live up to Eastwood's standard, but even conventional standards of quality, as Bee Vang as Kowalski's repentant teenage protégé Thao delivers a dull, uninspired performance, making key emotional moments almost laughable, and Christopher Carley as the young, passionate priest continually butting heads with Kowalski fares little better. Ahney Her is a high point as Thao's spunky sister, but is unfortunately stuck with too many of the film's weaker lines to deliver a performance of too much merit.

While Eastwood is far too competent a filmmaker to have the film descend into the self- pantomime or grim melodrama it could easily have been, Gran Torino still marks a rare directorial misfire for one of American film's most lasting and reliable filmmakers. Let down by a weak script and the occasional questionable moral positioning, the film never feels genuine or compelling enough to have its elusive purposes ring true. Nevertheless, the singular pleasure of Eastwood's towering performance and alleged acting swan song is still enough to make the film overall worth viewing, but as a whole, Gran Torino primarily marks a mostly missed opportunity for something potentially beautiful and resonant.

Clint Eastwood at his very best

Clint Eastwood performs a knock-out and surely Oscar worthy performance as a disgruntled Korean War vet called Walt Kowalski. The plot, though simple in substance and style is brilliantly planned and educated. The film follows a disgruntled Korean war veteran named Walt Kowalski, who sets out to reform his neighbour, a young Hmong teenager, who tried to steal Kowalski's prized possession: his 1972 Gran Torino.

Whilst both electric and brilliant, Eastwood fully acts his character to the bone and it shows that this is a character that has been perfectly created by Eastwood himself. Every aspect is detailed and visually amazing. Eastwood also shows us his dramatic and comedic side to Kowalski. The direction by Eastwood is powerful and imaginative which flows as boldly as the story. The backdrop to the film is mystic and thrilling as you don't now what's going to happen next, and Eastwood has crafted this brilliantly which keeps audiences on the edge.


Never since The Outlaw Josey Wales has Eastwood portrayed a character so thrilling and as exciting as Walt Kawolski. All in all this is a powerhouse performance which should get Easttwood an Oscar and a definite Director nod.
We all love Clint Eastwood but can we PLEASE be honest and admit he made a bad movie!?
I can't understand WHY so many reviews on here are just kissing Clint Eastwoods ass. There's no question Clint Eastwood is a brilliant actor and director. I went into this film expecting nothing less quality than "Million Dollar Baby", "Mystic River" and "Midnight in the Garden of Good and Evil". But this movie did NOT live up to any of those for a number of reasons.

I'll keep my review short but anyone with an objective mind has to be able to agree that many scenes and lines in this script were laughable. It says a lot when more than 1/2 the movie theater was laughing throughout the movie. Casting choices were no better. The priest was AWFUL. i appreciate Eastwood wanting to cast no names, and in the case of the the two Hmong children, locals as well who were starring in their first feature film. Unfortunately this backfired big time. They were not believable and their acting in many scenes was downright awful.

I appreciate the story they were trying to tell and I have no problem with the language but we all need to admit when a great filmmaker makes a poor film.
Very well-meaning, but sadly lacking artfulness
Everyone loves this flick, and I wanted it to wow me the way Million Dollar Baby did. But there are just too many holes in the acting, writing, and directing.

One of the biggest oversights in production were "gang" scenes where it appears that substandard actors were told to wing it. Boy, that sucks, and I can't tell you how much it pains me to see Eastwood letting that footage get edited in to something with his name on it.

And this, coupled with other scripted scenes with lousy writing, just down the flick for me.

Again: I really, really wanted this thing to work. It may be the perfect film to point to when you want to explain the inadequacy of best intentions in the face of oversights in realization.
Sour Humour and Pure Badassery
If movies like Indiana Jones, Iron Man and The Dark Knight were the thoroughbred hits of 2008, then Clint Eastwood's Gran Torino is the dark horse. This rousing crowd-pleaser is sure to surprise many, through its copious sour humour and pure badassery, while managing to still be an affecting and sombre dramatic entry in Eastwood's long-enduring and wildly successful career in front of and behind the camera.

You know that a movie has something going for it when it can a) pack in so many one-liners you can't bring yourself to remember them after the show from oversaturation of the brain, b) be unboundedly racist yet still never seen exploitative or condescending and c) make a pure, grit- and-nails, grimacing anti-hero, one man army out of a seventy-eight year old man. What is likely to surprise the most number of viewers is how funny this movie really is. Eastwood's direction and line delivery as a diamond-hard antisocial veteran is bang-on, but never makes the film into a farce or embarrassment. This is due in part to the handling of the more touching dramatic moments which anchors the film in reality and reminds us of what is at play, so to speak.

Following the death of his wife, Walt Kowalski (Eastwood) has nothing left but his dog to truly be with. His two sons and their families drift in and out, but Walt's less then cheerful demeanour and their impartiality keeps them in different worlds and in different times. Walt is peppered by visits from Father Janovich (Christopher Carley) of the local church at the request of his late wife to 'keep an eye on him', but has little place for religion on his heavy conscience; about as much time as he has for his new Hmong neighbours that move in next door. That is until the family's youngest son Thao (Bee Vang) begins to be harassed by a local gang who persuade him to steal Walt's prized Gran Torino as initiation. Saving Thao in an ensuing altercation, Walt sweeps the fatherless teen away from the pressures of the criminal life and puts him to work at the request of his mother. Thao and his sister Sue (Ahney Her) befriend Walt in a way, and for a reason none can truly explain.

All of the Hmong actors in Gran Torino are pure novices who have never acted before and this is readily apparent. While a weak link, the film as a whole is so satisfying it is really a moot point as it serves as no thorough determent. The arc of Walt is simple and easy to predict, but then anything but would not work. Many scenes with the cultural clashes are funny and touching as with an unspoken dynamic with the elderly grandmother of the Lor family next door. A number of exchanges between the few remaining people in Walt's life who he still respects such as his barber and a construction worker who gets Thao a job, are nothing short of comic genius and piece the Walt character into a true three- dimensional individual.

With a great song by Jamie Cullum to conclude the film (which stands as a horrendous Oscar snub, equalled only by the additional snub of the Bruce Springsteen Song from The Wrestler), Gran Torino is a pure gem; a film that both draws unexpected laughs, soft smiles and tears from an audience that is happy to oblige, as well as salute a screen legend in another iconic role that proves even at an old age a dark horse can still kick you in the face.
This is just a bad remake of the Karate Kid with anti-racism theme thrown in. Storyline is cliché and unrealistic: Walt balancing the wash machine to make his entry, Thao getting scarred for life with cigarette in his face, shootout at the end, young priest (were they inspired by the ridiculous young priest from 'There will be blood' ?),... Some real bad acting too. Poor Bee Vang hasn't starred in a movie since. Liked the barber guy from 'Fargo'. Walt was OK but a bit, well... grumpy. Oh and there's a 'funny' dog too.

Avoid this movie at all cost. Watch the original Karate Kid instead. How this movie gets rated an 8.2 on IMDb is beyond me.
📹 Gran Torino full movie HD download 2008 - Clint Eastwood, Christopher Carley, Bee Vang, Ahney Her, Brian Haley, Geraldine Hughes, Dreama Walker, Brian Howe, John Carroll Lynch, William Hill, Brooke Chia Thao, Chee Thao, Choua Kue, Scott Eastwood, Xia Soua Chang - USA, Germany, Australia. 📀