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| Director: Clint Eastwood
Actors: Clint Eastwood, Brian Haley, Christopher Carley, Geraldine Hughes
Studio: Warner Home Video
List Price: $19.98
Buy Used: $4.28
as of 11/22/2009 15:04 CST details
You Save: $15.70 (79%)
New (53) Used (43) Collectible (1) from $4.30
Seller: monster-deals
Rating:  353 reviews
Sales Rank: 92
Format: Color, DVD, Subtitled, Widescreen, NTSC
Languages: English (Original Language), English (Unknown), English (Subtitled), French (Subtitled), Spanish (Subtitled)
Rating: R (Restricted)
Region: 1
Aspect Ratio: 2.35:1
Number Of Discs: 1
Running Time: 116 Minutes
Shipping Weight (lbs): 5
Dimensions (in): 7.5 x 5.3 x 0.6
MPN: 1000041155
UPC: 883929033164
EAN: 0883929033164
ASIN: B001KVZ6F2
Theatrical Release Date: 2008
Release Date: June 9, 2009
Availability: Usually ships in 1-2 business days
Condition: Great Condition - Disc Looks Good
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| Customer Reviews:
Showing reviews 6-10 of 353
 What did he say? November 5, 2009
Karl Sanders (North Texas)
A really, really good movie. But why is there no Closed Caption on this download? Eastwood rarely speaks above a gruff whisper, and the other actors (intentionally) have unfamiliar accents. I followed a lot of scenes by continually rewinding.
Excellent condition and very fast delivery November 3, 2009
S. A. Fernandez
0 out of 1 found this review helpful
Great Movie, I used it in one of my Human Services classes at college to discuss the issue of diversity. It was very well produced, great acting.
 Reconsidering the "intentional fallacy" November 1, 2009
Samuel Chell (Kenosha,, WI United States)
I picked up this film at the recommendation of my son, who no doubt was attracted to it solely by the title. Equally certain is that he, like most viewers, was moved by more than the car. The emphasis is on tolerance, redemption and community, and Eastwood, as is his custom, finds it in an unlikely place--or rather, among an unfamiliar people--the much misunderstood, maligned, and even demonized Hmong people. Clint's character is that of a crusty old Korean war veteran who interprets the world around him according to the bible of Archie Bunker, stereotyping people at every opportunity, cracking politically-incorrect jokes, and talking in a profane and scatological argot ironically not unlike that of the young minority gang-bangers he views as a nemesis. The primary "action" is not the predictable violence, beating and shooting stemming from the vigilante justice that is a trademark of Eastwood films but the conversion of Clint from flint to "father"--not of his distant, materialistic biological children but of a Hmong boy who suffers from low self-esteem while seeking significance and stability among even his own people. Eastwood's character and the Hmong boy (originally an unwelcome neighbor who lives next door to the recently widowed Eastwood who, with the exception of his old dog Daisy, experiences a chosen isolation not all that different from the boy's). Eventually, Eastwood becomes a virtual family member among the Hmongs and gets the son he never had (though at the price of his life), and the Hmong boy in turn gets an affirming father along with the latter's coveted '72 Gran Torino and, through his newly acquired self-confidence, the Hmong girl he had been too shy to look at, much less go after.
These are commendable sentiments, and even without the twist of the Hmong neighbors, Eastwood's skills both as a director and actor assure a result that rises above the plot of what is basically a formulaic film, with a number of developments most likely conveyed to a good share of the audience well before they occur. What's somewhat regrettable is the appearance of the film at a time when the nation is so splintered (bifurcated, may be the word) into conservatives vs. liberals, pro-Obama vs. anti-Obama voters (never forget that an overwhelming majority of white males voted McCain-Palin), the birthers/deathers vs. the progressives who want change regardless of the price tag, and finally (and most importantly) the reductive political platform of the extreme right-wingnuts who can come up with nothing better than: no taxes and free access to fire-arms. It's not merely appalling, but unbelievable, to read polls suggesting that half of the nation has regressed to such bestial "basic needs": Give me my guns, and don't tax me! Even more disturbing is reading of political rallies to which people are drawn while packing firearms! (Undeniably, that's one solution to the current problems with the economy and its failure to provide sufficient jobs: kill enough people, and eventually demand will come into closer alignment with supply.)
In literature courses, teachers often try to discourage students from falling victim to the "intentional fallacy" ("Shakespeare wrote to entertain theater-goers and REALLY meant to say to be or not to be a ticket buyer is the question"; or "You're making too big a deal out of the poem. Maybe all Frost meant to say was that he went on a walk, came to a fork, and took the less-traveled one to be different."). But once a literary piece (or film) is born, it takes on a life of its own. Attempts to read the author's mind are naiive, presumptuous and beside the point. So even though Eastwood's character ends up with a cigarette lighter in his right hand rather than the magnum pistol it's assumed he's reaching for, the strange hold that guns have, especially on Americans, the potential of guns to "equalize" us all, quickly and decisively, is a stronger, more lingering image, I'm afraid, than the restored Gran Torino. If Eastwood makes one more film (he had vowed before "Gran Torino" to do no more acting), I can't imagine a stronger, more valuable or memorable closer than a movie exposing guns for the anachronisms they have become in a civilized society--unless the director believes that such notions are themselves anachronisms--idealistic fantasies, or hallucinations maybe, of the '60s flower children. But given his love of jazz and American music, I know that he would support, instead of guns in young people's hands, a musical instrument, preferably one that is not a synthesizer.
I viewed the film in Blu Ray, though Eastwood's preference for a "noirish" cast, even to his color tones (witness a first-class film noir gem like "Tightrope" from 1985), makes normal DVD an equally compelling choice.
[Coda: A undeniable item of curiosity (apart from its critical importance to the plot) is the cigarette lighter that replaces the handgun in Eastwood's final scene. At a point midway in the film we see him coughing up blood, and a comment by the Hmong boy (or is it his sister?) that he should stop smoking strongly implies that he's suffering from lung cancer (given his stubborn character, a doctor would be the last to know). So either way--a gun or a lighter--the object in his left shirt pocket is emblematic of his end, the only question being whether it will be instantaneous or prolonged. It's even plausible that he knows his days are numbered and chooses what he believes is the best way out for all concerned.]
Excellent November 1, 2009
Ehleighen (Twin Cities, MN)
I wasn't that interested in going to the movie as I'm not a Dirty Harry fan or anything, but what a great movie. If you are offended by racial jokes - do not watch, but me and my husband found it freaking hilarious. Great story, very captivating, and a tear jerker. A definite must own.
Well done! October 30, 2009
George Novak
1 out of 1 found this review helpful
Gran Torino was, in this person's opinion, Clint Eastwood's finest movie. I won't divulge any of the story, but it was very true to life for the older generation; a way of life that no longer will exist for young people. All I can say is "well done"!
Showing reviews 6-10 of 353
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