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Reviews provided by RottenTomatoes
Ben Lyons, At the Movies: Eastwood is really fantastic in the twilight of his career. Read more
Michael Phillips, Chicago Tribune: Eastwood's foursquare directorial aesthetic tends to heighten, rather than camouflage, a screenplay's shortcomings. He may well win the gold for this one. But we'll have to assume he's winning it for richer assignments en route. Read more
Ann Hornaday, Washington Post: If you can survive the F-bombs and the near-constant ethnic invective, Gran Torino is not to be missed, if only as the gutsy, thoroughly unexpected valedictory of an icon fully willing to spend every bit of his considerable capital. Read more
David Edelstein, New York Magazine/Vulture: To think Gran Torino is a masterpiece, you have to accept the contrived setups and sledgehammer melodrama. Read more
J. R. Jones, Chicago Reader: Like Woody Allen, Clint Eastwood has reached the point where his movies are better when he's not in them. Read more
Joe Morgenstern, Wall Street Journal: Gran Torino is defiantly old-fashioned, and occasionally, albeit endearingly, self-indulgent. Most of all it's heartfelt, and for me the feeling was mutual. Read more
John Hartl, Seattle Times: Gran Torino has much to recommend it, not least of which is Eastwood's enjoyable and slyly self-deprecating performance. And the supporting cast holds their own every step of the way. Read more
Jonathan F. Richards, Film.com: If Mt. Rushmore were to make a movie, it would probably look a lot like a Clint Eastwood movie. Read more
Keith Phipps, AV Club: Eastwood directs with his usual relaxed pace and bursts of intensity, a style that's pleasing to watch -- and which, also as usual, never fully compensates for any shortcomings of the script handed to him. Read more
Bill Goodykoontz, Arizona Republic: Gran Torino is an unlikely tale made plausible almost solely by the quality of Clint Eastwood's performance. Read more
Wesley Morris, Boston Globe: Read more
Ty Burr, Boston Globe: Gran Torino is alive to the web of racial and ethnic discontent in this country, but the script by Nick Schenk and Dave Johannson has a tin ear. Read more
Kenneth Turan, Los Angeles Times: It is familiar, but only to a point. Suddenly, that point is past and much more serious questions come up, questions of responsibility, of vengeance, of the efficacy of blood for blood. Read more
Amy Biancolli, Houston Chronicle: Gran Torino is the most obvious and least interesting of the four movies [Eastwood's] directed in the last two years. Read more
Peter Rainer, Christian Science Monitor: This is among his lesser recent movies, which doesn't diminish its likability. In fact, it's pleasing to see Eastwood working the middle of the emotional register for a change. Read more
Lisa Kennedy, Denver Post: Gran Torino is very much about the thing Eastwood knows most intimately -- movies. Like Unforgiven, his neo-Western classic, this film ponders the value of the yarns we spin about heroes and lawless encounters. Read more
Tom Long, Detroit News: It's a bit shaky in approach, execution and ending, the work of a grand master in middling mode. Read more
Lisa Schwarzbaum, Entertainment Weekly: A movie at once understated and radical, deceptively unremarkable in presentation and ballsy in its earnestness. Don't let the star's overly familiar squint fool you: This is subtle, perceptive stuff. Read more
Christine Champ, Film.com: Though the film feels like a requiem, Kowalski's heart is still defiantly beating. Read more
John Monaghan, Detroit Free Press: Ultimately, Gran Torino is not recommended for its moralizing or its scenery, but for Eastwood's compelling performance. Read more
Christy Lemire, Associated Press: Gran Torino becomes more intriguing as the journey its takes us on evolves and grows darker, albeit with Eastwood's trademark, no-nonsense aesthetic. Read more
Amy Nicholson, I.E. Weekly: The first two-thirds play as comedy: Eastwood grumbles, curses, and insists on being a right bastard. This is Dirty Harry gone geriatric, Eastwood parodying himself. Read more
Scott Foundas, L.A. Weekly: It feels like a summation of everything he represents as a filmmaker and a movie star, and perhaps also a farewell. Read more
Rafer Guzman, Newsday: Part modern-day Western, part vigilante flick, part after-school special, Clint Eastwood's oddball drama Grand Torino remains entertaining right up to the end credits, during which you can scratch your head and wonder what you've just seen. Read more
David Denby, New Yorker: The movie, which Eastwood directed with his usual vigor, has plenty of violent scenes, but it's mostly a rueful comedy of enlightenment. Read more
Elizabeth Weitzman, New York Daily News: In front of the camera, the 78-year-old actor still appears able to demolish anyone who messes with him, which is why this showcase works as well as it does. Read more
Lou Lumenick, New York Post: A very funny and touching movie that delivers its message of tolerance with a most agreeable light hand. Read more
Andrew Sarris, New York Observer: Caps [Eastwood's] career as both a director and an actor with his portrayal of a heroically redeemed bigot of such humanity and luminosity as to exhaust my supply of superlatives. Read more
Roger Moore, Orlando Sentinel: Gran Torino grinds through its gears in an efficient if generally graceless manner, with occasional blasts of violence interrupting a film that is content to be the cutest movie Clint's done since his days of co-starring with an orangutan. Read more
Carrie Rickey, Philadelphia Inquirer: The film is neither elegant nor subtle. Both Eastwood's performance and his direction veer from broad melodrama to broader comedy and back again. But the film boasts crusty humor, heart and conscience. Read more
James Berardinelli, ReelViews: Gran Torino is an amazingly over-the-top anti-racism parable but, despite its obvious shortcomings, it is nevertheless effective and affecting. Read more
Richard Roeper, Richard Roeper.com: A brilliant commentary on a lot of earlier Clint Eastwood roles. Read more
Roger Ebert, Chicago Sun-Times: Gran Torino is about two things, I believe. It's about the belated flowering of a man's better nature. And it's about Americans of different races growing more open to one another in the new century. Read more
Stephanie Zacharek, Salon.com: Gran Torino, whatever its flaws are, is a movie about what America looks like now, and it posits that the work of living amicably together is sometimes hard but always worth it. Read more
Mick LaSalle, San Francisco Chronicle: A ham-fisted screenplay sets down the terms of the story with the obviousness of an old-fashioned play. Read more
Dana Stevens, Slate: This is the better by far of the two movies Eastwood has made this year, a stripped-down alternative to the overupholstered Changeling. Read more
Colin Covert, Minneapolis Star Tribune: Eastwood's second film this year is a compelling study of anger and violence and the guilt and shame that shadow them. He has sat high in the saddle for decades, but rarely has he ridden so tall as in the driver's seat of Gran Torino. Read more
Liam Lacey, Globe and Mail: By the time it jolts to an ending, followed by Clint rasping a tune to the closing credits, you're more likely to be rolling your eyes than dabbing them. Read more
Peter Howell, Toronto Star: A thoughtful work that continues the actor/director's remarkable late-career surge. Read more
Geoff Andrew, Time Out: The comedy-drama on release is actually a rather wise, insightful exploration of family and friendship, violence and vengeance. Read more
Christopher Orr, The New Republic: With Gran Torino, Eastwood has taken what might have been the likable last gasp of his iconic persona and turned it into the dullest, most heavy-handed sermon of his career. Read more