🎦 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. Written by alfiehitchie
Type Resolution File Size Codec Bitrate Format
1080p 1920x800 px 8962 Mb h264 10738 Kbps mkv Download
HQ DVD-rip 720x304 px 1848 Mb mpeg4 2216 Kbps mkv Download
DVD-rip 640x480 px 944 Mb mpeg4 1131 Kbps mkv Download
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.
Unbelievably overrated
That's it. I give up. Clint Eastwood's films have lost it for me. After the predictable, boring, clichéd tripe that was Million Dollar Baby I risked seeing this as again I was taken in by all the good reviews... never again. Come on, when are people going to stop humouring this boring old fart? Drag his character over from MDB, make him a hate-filled racist as well as a scowling misogynist, and you have this guy. Don't you just want to see the angry, growling old git inevitably get reformed in the most painfully predictable, clichéd way by the most painfully predictable, clichéd characters imaginable, yet again? Please say no.

At least MDB had people that could act, can't say the same for this. Watch the kid screaming to get out of the basement after the dirty old man's locked him in there, you'll see what I mean. I also would've gladly punched the girl in the face as well, to the point of being envious of the people that eventually got to do it in the film.

What I hated about this... I don't even know where to begin. Started off boring, like MDB. Got even more tedious through the middle, most of the scenes being obvious set ups for all the 'emotional, hard-hitting' stuff later on, like MDB. The utterly inane and predictable build-up and ending fell jarringly flat, like MDB. By the end I was as angry as Eastwood himself. The film did reach a high point for me then, I had a LOL moment as Eastwood started singing (yes, singing) some puke-inducing crap song about his car through the closing credits, which I guess was supposed to be sad and emotional. The funniest comedies don't make me laugh that hard, the goriest horror films don't make me feel as sick. Thanks Clint. Now go back to bed and stop bothering people old man, don't get up again. You're just embarrassing yourself.

Seriously, I'm lost for words as to why this is so highly rated. I can't understand why people insist on eating up this one-dimensional crap. Are they scared to say they don't like it? I'm not. I hated this film. Worst one I've had to sit through in a long time.
Dirty Harry? No, it's Stinky Wally.
If you were to put Charles Bronson, Mel Gibson and Clint Eastwood all in a blender, this is what you'd get. Everything about this movie, from the story and the characters, down to the art work for the poster, has been half-heartedly plagiarized from either one of Eastwood's own films, or from the other above mentioned maestros of the feel-good revenge flick. Bitter old man who has seen too much of life? Check. Formerly nice, middle-class neighborhood being overrun by generically ethnic hell-raising teenagers? Check. Hard-working and helpless women, children and old people who need some strong-arm style protection? Check. Creepy neighbor with lots of guns and a cool car? Nothing new there. And then the script writes itself - although judging by the dialog of the younger characters, I'd guess that someone even older that Clint Eastwood wrote this thing. As far as Eastwood's age goes...well, his reaction shots, the ones that are supposed to show us what a rugged and tough old dude he is (including growling), consistently look like he's just having a particularly rugged and tough bowel movement (including growling). But what's really painful here is that Eastwood, who has made at least one masterpiece, is the one who called these shots, directing the cheap dialog and flat acting. Laziness? Senility? Either way, it's not a happy result.
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.

Gran Torino shows Clint Eastwood in great form
The film is about a Korean war veteran, Walt Kowalski, who lives with his dog. He'd lost his wife recently and doesn't have a good relationship with his sons. Walt is bitter and tormented by the war's ghosts. Besides, he's getting annoyed with the increasing presence of immigrants in his neighborhood.

One of his neighbors, an Asian boy named Thao, tries to steal his car, a 1972 Gran Torino, in order to be accepted in a gang but is stopped by Walt and his gun. After some events, Walt and Thao become friends while having to deal with the violence of the street gang.

I think the script is very good. It explores themes such as racism, friendship, anger, revenge and redemption in a creative (and sometimes funny) way. It's about life and death and how the death of one person can bring life to another. Clint Eastwood does a great job reviving his "tough-guy" type but this time with lots of emotion and experience. Very Good!
Clint is the best director in Hollywood and still one of the great actors
seeing the trailer for this film kinda made me expect id be watching Dirty Harry in the suburbs.

What I saw was a bittersweet superbly written, well acted story of humanity and friendship,this film is something that we can all relate to in some way, and isn't Hollywooded up in anyway, the film tells it story without any un needed hidden undertones that so many mainstream directors do to films.

Eastwood is excellent as the hard nosed war vet, and his direction is perfect as always, and supporting cast did there job just fine too

Clint Eastwood was perfect for the role and as director, as he has the knack of taking a story and making a film for the audience to get sucked into the story, and not for critics to pick apart....great film making,
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.
moralistic suburbs melodrama
Clint Eastwood's character in Gran Torino is one of the less likable good guys recently seen on screen. Recently widowed, retired automobile worker Walt Kowalski is a lonely man, non-communicative neighbor, non-committal Catholic, badly mouthed and with a tendency of racism towards the Asian neighbors who came in numbers to settle his neighborhood. His sense of justice is initially focused towards keeping any other human beings' feet out of his lawn. This until events in the neighborhood will force him take a stand and get him to know the true human face of his neighbors.

The theme of the WASP American confronted with the newcomers in the increasingly multi-racial and multi-cultural society of today's America is the same as in the wonderful 'The Visitor' that I saw a few months ago. Yet, everything that was there subtle, unexpected, hinted, is here in 'Gran Torino' direct and trivial. Eastwood's Kowalski acts as and old incarnation of his cowboy roles three or four decades earlier. His understanding of the neighbors is never in harmony with their culture for which he keeps a permanent disdain, it is always in his own terms. The cultural integration is not perceived as a bilateral and respectful process, but as a series of lessons in 'the American way', meaning rude language and macho behavior. At least the screen story has the wisdom of showing this way as failing in real life. The final resolution of the conflict has a very moralistic tone, with a Christian symbolic nuance that may work on the screen but in real life would be less credible (there is probably more than one gang in that suburb area, right?).

Clint Eastwood is a living legend, and at his age and stature he can do whatever he wants on screen. He does it his way. To my taste, when dealing with the tough problems of inter-racial relations and social problems in the American suburbs his ways do not work too well. It's maybe because the cowboys ways do not work that well in these situations.
Don't do yourself a disservice and subject you and your loved ones to this cinematic fiasco
I am appalled at the positive reception this film has received on this site. This movie was easily the worst Clint Eastwood film I have ever seen, and it is competing for a top spot in the worst generally.

Please note that the following criticisms might contain some small spoilers.

The dialogue for the film breaks down fairly simply: Mr. Eastwood grunts, coughs up blood, utters a racial slur, or asks for beer, for at least, and this is not an exaggeration, 50% of his screen time.

No, it is not a deep illustration of a man torn apart by war experience and racial hate; it is very, very, extraordinarily bad writing.

None of the characters in Gran Torino even hint at having a 3rd dimension. The movie proceeds as though Mr. Eastwood wrote the script at 3 AM in the backseat of his car. It is impossible to recall one moment of this film that was not clichéd, preachy, or so comically simplistic as to leave the viewer struggling to appreciate Gran Torino on even an ironic level.

One even gets the feeling that the producers, and even Mr. Eastwood himself, were aware that the movie amounts to little more than an expensive mistake. SPOILER At the very end, when the posthumous voice of the protagonist (for whose death I was beyond grateful) pipes in singing 'Gran Torino,' I entered a fit of laughing that held me and my companions for at least 10 minutes after the credits had finished.

Watching this film is a lot like having your angry, old, war-veteran great uncle beat you over the head with a piece of raw meat. There is a slight chance you could find it sort of funny, but in all likelihood, the emotional scarring will be permanent.
📹 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. 📀