GRAN TORINO

Run time: 116 minutes
MPAA Rating: R for language throughout, and some violence

There's life in his grin, growl, wince and hiss, there's a lifetime of achievement spanning from the age where Kennedy was a U.S. President until Obama takes charge for the living American legend, Clint Eastwood.

One could be mistaken that Gran Torino is a 21st century Dirty Harry, but this is a complex story about sacrifice, love and redemption. One could also think this is as a metaphor for the dying American auto industry.

Walt Kowalski (Eastwood) is an unpleasant, loner, bigot Korean War vet with "racist" vocabulary, his wife just died and everything around him makes him irritated, his relationship with his sons isn't very good, the neighborhood he lives is no longer the picket fences white America, it is a melting pot for Asian, Blacks and Mexicans and gang disturbances.

After retiring from a 50 year old career in the auto industry, Walt lives alone with his dog, Walt lives in the 50s, and just like many vet, refuse to accept change.

Things doesn't get better as Thao (Bee Vang), a boy next door, attempts to steal Walt's precious 1972 Gran Torino as part of a gang initiation. He fails when Walt shows up with a shotgun. As the gang members try to "initiate" him for the second time, Walt Kowalski, the Dirty Harry version shows up with a shotgun and a piercing dialogue.

Then Walt become a reluctant hero of the neighborhood, a part he initially despise. His tough exterior is being defrosted by Thao's smart and spirited older sister, Sue (Ahney Her). And as a penance (or redemption as this film strongly emphasize), Thao works for Walt. As expected, cross generation budding starts and few laughs created, the Eastwoodian style. But problems doesn't end there, the gangs return with a bloody vengeance and Walt has to do things he believe is right.

This is film that feels utterly personal—a movie that might actually be as much about Clint Eastwood the man/myth/icon as it is, it is a strange but humble encore for his legendary career in the cinema, a reflection of his life and a notion that America is changing and last but not least, a revisit of his legendary image. This is 2008's finest film (sharing the top spot with The Dark Knight) and if Clint didn't nail Oscar nomination (or even the golden statue itself) then there is no justice at all.

I wish Clint keep making movies like this, to remind us, that watching film is not only an activity to kill time, but an activity to make you realize that life is worth living.