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Purchase Gran Torino (2008) Movie Online and Download - Clint Eastwood 🎥
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 an old man, who can't get along with either his kids or his neighbors, 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.
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Nothing Special
I've seen a number of Clint Eastwoods films, and although he is an excellent actor/director, this particular film lacked anything that could be considered as cinematic specialty.

The story is mediocre and the choice in actors were "okay" at best. The acting and the script didn't seem to come together well, and there was a lack of passion. Basically, it seemed like the actors were acting, like they WERE reading a script and not completely immersed in their roles.

I'm not saying it was a bad movie, i just mean to say it wasn't a GREAT movie. I was very surprised to find this title in one of the top 250 IMDb movies.
Well, I have seen much better from Clint
Clint Eastwood is one of my all time heroes both as an actor and as a director so I was really looking forward to watching this film in which he does both jobs. He also has a knack for depicting the crack in the American dream as illustrated by Million Dollar Baby, Mystic River, The Unforgiven, and so forth -- but this time the whole thing appeared to be more about racist Paleface Clint becoming a better person than anything else, so I came away somewhat disappointed.

In what might well be Clint's final acting performance (he is beginning to look old and creaky) I witnessed a rehash of all the Dirty Harry and man with no name stuff under the guise of an old man who seemingly cares for no one and is tough as nails but underneath is a real softy. He retains all his well established celluloid courage as an old dog of war that keeps the young and fit criminals in their place.

The way he wins over the Asian neighbors that he keeps insulting and turning away really stretches your imagination. But at least the intention is good and it is refreshing to see his exchanges with the untiring Catholic priest who does his utmost to get him to confess and save his soul.

In a finale reminiscent of John Wayne in "The Shootist," Clint commits public suicide and apparently places his faith with a number of witnesses that had up to that point been very wary to report anything on the criminal gangs for fear of retribution. Personally, I thought it a pointless suicide. I'd much rather have seen Clint go out blasting away and taking with him a few bad eggs. But that is my obviously very subjective viewpoint.

I am giving this film a 7 but 6.5 would be closer to the mark. May Clint live many more years and direct many more great films. This one and The Changeling have provided blips on the lower side of the quality graph but they are still well worth admission price.

And - I'm sure Clint will bounce back with more quality films in the near future!
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.
I've scored this movie as a 1 to help remove it from the top 250 as well as decrease its average. This decision is based upon the quality of the movie, which is mediocre at best. If you've seen this movie and enjoyed it, the only way I can offer a bit of enlightenment is to encourage you to listen to any real-life conversation that is taking place between any two people at any time anywhere in the world, and then compare it to the dialogue in Gran Torino. I think you will find in hindsight that word choice, the pacing, and the delivery come off as stilted, over-played, and clichéd in a manner which would make "Crash" blush. As seems to be true of contemporary society, this script is out of touch with its characters' voices and makes up for this absence of authenticity by exaggerating obvious stereotypes, such as the brooding vet, the snarky girl, etc. Clint would do well to relax a bit and let the voices of these characters evolve a bit more, rather than relying on these rather easy character devices.

Additionally--and I'll be brief here, because other users have covered this more thoroughly than I--the mere identification of racism is not in itself a commentary on racism; it is an opportunity to construct a story around racial themes which will illuminate different modes of thinking or behaving. In Gran Torino, Clint's overuse of racial slurs--from beginning to end--left little opportunity for racism to operate as a critical or thoughtful theme. In the end, as in the case of Crash, the racism theme was overplayed--obvious to the point of obnoxiousness, and reflective of an industry whose conception of human interactions is not evidenced by reality.
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.
Literal, simplistic, predictable, manipulative - typical Eastwood
To avoid over-analyzing this film, a job that was quite adequately done by many one-star raters, I simply would like to make several, hopefully original, comments and also to lower rating a bit - to me this film is obscenely overrated.

Perhaps seventy eight years old Eastwood started seriously contemplating mortality and what would be a good way to go with a bang, one can entertain such thoughts, even when not in a hurry to die. Self-sacrifice always sells - how anyone can object? And how such a gun-man as Eastwood can go, other than by a gun? You just can't teach old dog new tricks. I think it is too late for him to start making new kind of film, he already have said all he could say and now just cuts and pastes from his earlier work. Yes, he was great in his genre, (spaghetti) westerns. He was the best in Sergio Leone films and very good as Dirty Harry. But how good is he now?

With almost limitless film media released every year and systemic lack of time to view it, when planing to invest some of this precious time to see a film, of a good quality, I dare to say something new, it should be a lesson to all of us not to expect anything new from a person with fifty-year career behind him, who amply demonstrated what he's capable of, and not to waste our precious time in vain hope to find something new in his work. That is if you, as I, wish to see something new - is it not one of the top requirements for a work of art? However, should you just wish again hear: "Go ahead, make my day ...", then by all means, help yourself.
I was expecting better
OK. Clint's pushing close to 100 or so....

While he was great as a cowboy and as a overdone cop and in other roles, he sucks in this one.

As a performer I think he is just awesome...but this movie stinks.

I was really looking forward to this for some reason - but when I got to the end, I was disappointed again by Hollywood.

Though it's not a blockbuster, action or drama - it also doesn't have the strength to be really compelling either.

Story kind of sucks and well...really what does the Torino have to do with it at all? So misleading and dreary - hopefully the old folk will like it after watching Matlock and Murder She Wrote.

I'm really looking forward to a Golden Girls action move...maybe Clint could do one in the near future.
Clint Eastwood's character is interesting; the rest is garbage
This movie has so many problems that I'm not sure where to begin. So i'll simply mention things as they come to be, rather than in chronological order. The first thing that has to go from this film is the awful scene at the barbershop where Clint is trying to teach Thao how to interact with people. Awful, awful, awful, and it goes on and on, and then it ends with the lamest joke about anal sex with some carpenters. Actually, all the barbershop scenes can go, because the only thing they accomplish is to show that Clint's character makes racist remarks even with his friends. But we get that from the scene with the Irish foreman. The priest should have been recast. That said, the scene near the end when the priest just walks right into Clint's house is terrible. The whole movie the priest has been calling Clint's character by his first name, and Clint keeps correcting him, asking to be called Mr. Kowalski, and then predictably in this late scene the priest calls him Mr. Kowalski, and Clint says, "Call me Walt." Awful. And nothing is accomplished in the scene anyway. The editing is poor also. Scenes that have ended continue for a few more moments. For example, the scene where Sue is being hassled by three black guys is over once Clint gets her into his truck and they drive away. But the scene continues with a crane shot of the three guys walking away and talking about Clint. What do we care what these guys think of him? The scene is over, move on. Okay, now for some real spoilers... The end is completely retarded. Clint's character should not die that way. After all, his standing up to the gang earlier should have empowered the neighborhood to take a stand. They should have reported the names of the guys who raped and beat Sue. Instead, Clint goes on a suicide mission, somehow knowing that only then would people tell the police what's been going on. Someone says, "This time there were witnesses." Well, hell, there were witnesses every time, but no one was willing to speak up. Why should they now? It's ridiculous. And then of course the kid inherits the stupid car. Who cares? What he should have inherited was the tools. The tools are what really brought those two characters together; the tools are what will be useful to him in allowing him to get on with his life. The movie is plagued by some of the worst acting i've ever seen in a film. The bit where Thao is locked in Clint's basement and he's demanding to be let out had the whole audience laughing, and it was supposed to be a serious moment. I don't understand why people love this film. My only guess is that the vast majority of film-goers are morons. Oh well.
Another top-notch, Clint Eastwood film that entertains and teaches.
Manohla Dargis writes in the New York Times: "Dirty Harry is back, in a way, in "Gran Torino," not as a character but as a ghostly presence. He hovers in the film, in its themes and high-caliber imagery, and of course most obviously in Mr. Eastwood's face. It is a monumental face now, so puckered and pleated that it no longer looks merely weathered, as it has for decades, but seems closer to petrified wood. Words like flinty and steely come to mind, adjectives that Mr. Eastwood ... expressively embodies with his usual lack of fuss and a number of growls." More praise for Eastwood comes from Joe Morgenstern in the Wall Street Journal, who comments: "No one makes movies like Gran Torino any more, and more's the pity. This one, with Clint Eastwood as director and star, is concerned with honor and atonement, with rough justice and the family of man. It raises irascibility to the level of folk art, takes unapologetic time-outs for unfashionable moral debates, revives acting conventions that haven't been in fashion for half a century and keeps you watching every frame as Mr. Eastwood snarls, glowers, mutters, growls and grins his way through the performance of a lifetime." Elizabeth Weitzman in the New York Daily News remarks that "it's clearly a career-capping work." Kenneth Turan in The Los Angeles Times writes that the movie "is impossible to imagine without the actor in the title role. The notion of a 78-year-old action hero may sound like a contradiction in terms, but Eastwood brings it off, even if his toughness is as much verbal as physical. Even at 78, Eastwood can make 'Get off my lawn' sound as menacing as 'Make my day,' and when he says 'I blow a hole in your face and sleep like a baby,' he sounds as if he means it."

There are at least four reason why I like this film: 1. Clint Eastwood shows that the character he is playing is willing to serve in a war-- and die if necessary--to preserve freedom (and he has a medal to prove it), 2. he has grown old and the whole world has changed (and everyone around him seems to indicate--in one way or another--that he is no appreciated or needed), 3. even with a transformation, he demonstrates that people tend to be reactive--rather than responsive--and are slow to change (this is particularly true with bias, discrimination, and prejudice), and 4. that tolerance can lead to understanding (he tries to give tough love, but he becomes softer in his response--instead of his reaction--after giving and receiving genuine love). It seems that everyone around him wants his Gran Torino and everything else he owns, before he even has died, instead of being interested in him. He lives in a community that is transformation, and he knows absolutely nothing about culture, diversity, ethnicity, race, or sexual orientation. He does know about aging, however (if nowhere else, he learns about it from people's adverse and negative reactions, everywhere around him). He isn't exactly treated with dignity and respect, so why should he treat anyone else with dignity and respect? And, trust must be earned.

If this is Clint Eastwood's last film, I can only say that that his performance, in this stunning film, is what legends are made of. There are some wonderful performances in "Milk" (Sean Penn), "Australia" (Hugh Jackman and Nicole Kidman), "Changeling" (Angelina Jolie and director Clint Eastwood), and "The Dark Knight" (a riveting performance by "Brokeback Mountain's" Heath Ledger). In viewing all of these films, there are performances that are not only superb, but they evoke every one of the emotions and carry the intellect and intelligence of human cognitions to the highest pinnacle of excellence. As a gay person, I must say that I am moved by Sean Penn's portrayal of Harvey Milk, I am moved by the romantic chemistry between Hugh Jackman and Nicole Kidman, and I would be remiss if I did not mention Angelina Jolie's flawless and moving performance. But, I give the top honor to Clint Eastwood for giving us films that educate and entertain. And, "Gran Torino" (2008) is no exception. One cannot walk away from a Clint Eastwood film, without saying that they haven't learned something, or without saying (just like the legendary Ethel Merman used to sing) 'there's no business (quite) like show business'. I rank "Gran Torino" (2008) a 10 out of 10. Clint Eastwood's performance is more than another version of 'Dirty Harry'. In fact, his portrayal is reminiscent of the Paul Newman character in "Nobody's Perfect".
This is going to sound politically incorrect...
I'm sorry if this sounds politically incorrect, but I cannot get on the merry-go-round and give this movie the acclamation it has received. If this was a made-for-TV movie then I'd give this a higher rating. And I'm not giving this a low rating because of Clint's talking chair rant at the 2012 GOP Convention that nominated Mitt Romney.

I can think of numerous Eastwood movies that contained more insight but Gran Torino was pretty much by the numbers, and rather grossly stereotypical. Walt was stereotypical, the Hmong community stereotypical. I even read that the Hmong cast weren't even invited to a cast and crew baseball match, because it was assumed they wouldn't be interested in baseball even though all were born in the USA to paraphrase Bruce Springsteen. Really, does Walt hate all Asians because of his Korean War experience? Following that chilling line of thought, if Walt had fought the Germans in World War 2, he'd end up hating every European person he came across!!!!
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