Walt Kowalski (Clint Eastwood) is an angry racist ex-Marine -- recently widowed and living alone with his dog in his old neighborhood now overrun with mostly Asian gangs. When the next door youth A Hmong teen named Thao (Bee Vang) tries to steal his beloved Gran Torino he strikes up a relationship with the boy that profoundly changes both. As Thao and his sister Sue Lor (Ahney Her) are threatened by gang members Walt springs into action and sets out to clean up the neighborhood using his gun and anything else at his disposal. Meanwhile his son (Brian Haley) and daughter-in-law (Geraldine Hughes) show up trying to convince Dad that it is time to move away from the ever-changing suburb he has lived in for so many decades and try a retirement community a prospect Walt will have nothing to do with. Eastwood gives the performance of a lifetime in Gran Torino. You will be reminded of everything that has made him a major star for five decades and astonished at the remarkable new challenges he sets for himself -- even in the sunset of a stellar screen career. Even though Kowalski’s language and attitudes verge on the Archie Bunker mentality Eastwood’s dry delivery of such offending lines actually elicits more laughter than outrage. It’s almost as if we are looking at what ‘Dirty’ Harry Callahan might have been like in retirement. His humanity is eventually allowed to shine through and it’s the journey that the actor takes with this character that makes Torino so worthwhile. Amazingly Eastwood has never won an Oscar for acting but Gran Torino might change things. Of the young newcomers Vang and Her are sweetly convincing and good foils for Walt’s crankiness. As usual Clint Eastwood the director paces the drama in a leisurely manner letting things unfold in its own due time. More than any other recent film he’s directed including his most recent film Changeling Gran Torino seems defiantly old fashioned in its storytelling. Reportedly Clint didn’t change a word of first-time screenwriter Nick Schenk’s script and that does lend itself to some awkward moments particularly in scenes with the neighbors. Clint has always been interested in different aspects of the race issues in America and here uses a disgruntled Marine to express what is simmering below the surface in many pockets of American life. Although younger audiences may find the film’s rhythms rather slow the ultimate payoff is huge and Clint fans are likely to eat it up.
Not to be confused with the 1979 ghost story The Changeling this Changeling is a horror story of a very different stripe. Based on a long forgotten case buried deep in the L.A. crime files this true tale revolves around the mysterious 1928 disappearance of 9-year-old Walter Collins. Set in an election year and with heavy political pressure on city officials and a corrupt LAPD they find a child five months later who they claim is Walter and arrange to reunite him with his mother Christine (Angelina Jolie). Only problem is she says this is not her kid. When she asks the police to continue trying to find her son she finds herself victimized and accused of being insane and unfit for not going along with the PR campaign informing the public that the police have solved the case. With the help of a community activist Reverend Briegleb (John Malkovich) she begins to fight the city and the police who try in every way to silence her even committing her to a mental institution. The film details not only her valiant quest to right a wrong and find her real son but serves as a probing indictment of the police state 1920’s Los Angeles had become. As in her searing portrayal of the pregnant Marianne Pearl in last year’s A Mighty Heart Angelina Jolie once again connects with her maternal side. In another challenging role she must exhibit a wide emotional range going from fear to anguish to anger to pure resolve in an effort to uncover the mystery of her son’s abduction. Splendidly outfitted in ‘20s garb Jolie delves deep into the soul of a woman who dared to go against the grain and challenge a corrupt police department in Prohibition-era L.A. She’s simply remarkable in the most intense determined and heartbreaking role of her career. As the man who helps out in her cause Malkovich is perfectly matched to Jolie. As the merciless Captain Jones who heads the investigation to find Walter Jeffrey Donovan (TV’s Burn Notice) is properly frustrating and imposing while Colm Feore gets the evil side of his LAPD police chief down pat. Nailing her few scenes Amy Ryan (Gone Baby Gone) plays a fellow psycho-ward inmate who helps Christine when she is institutionalized. Particularly impressive is Eddie Alderson as the 15-year-old nephew of the serial killer who leads police to a grisly crime scene and his uncle played a bit over the top by Jason Butler Harner. And filling out their juvenile roles nicely are Gattlin Griffith as Walter and eerie Devon Conti as the young man impersonating him. Clint Eastwood knows his way around ominous foreboding material so it’s no wonder he was instantly attracted to J. Michael Stracynski’s immaculately researched script. After Million Dollar Baby and Mystic River Eastwood exhibits a strong understanding of the dark side of human nature. Changeling fits right in with his oeuvre and he delivers yet another superbly crafted and acted film -- one that exists on two separate levels as a look at the corruption that crept into the LAPD of the era and as an impassioned journey of a woman trying to find a happy ending for herself and her son. Shot with the director’s usual ease Eastwood seems comfortable letting the almost unbelievable facts of the story speak for themselves and remarkably didn’t change a word of Stracynski’s fascinating screenplay. He doesn’t have to. The fact that it’s a true story that all really happened is simply incredible by itself. This is an unforgettable triumph for everyone involved.
Based on James Bradley’s bestselling book of the same name Flags of Our Fathers is Saving Private Ryan meets Stand By Me. Buried in the collective national conscious the Associated Press photo of six American soldiers raising a flag of victory over Iwo Jima is the basis of the film. Bradley’s father Doc Bradley (played by Ryan Phillippe in the film) who was one of the flag-raising soldiers never fully shared the details of the experience with his son but Flags meditates on some of those unanswered questions. The Iwo Jima conflict fortified by crags of Japanese snipers lays siege to thousands of messy casualties and the tattered flag--immediately seized by U.S. government officials to rallying and recruit soldiers--emerges as a symbol for American pride while the five Marines and one corpsman who raised it are basically forgotten. Heavy dramatics are saved for Adam Beach (Windtalkers) as Ira Hayes the Native American Marine who degenerates into madness. He represents the bittersweet languor of lost ambition and broken spirits. Director Clint Eastwood is actually the film’s best actor even though he isn’t in the movie. We can see his simmering restraint in the Flags’ acting ensemble as he guides his actors into finely tuned performances. From Beach to Phillippe to Paul Walker (2 Fast 2 Furious) Eastwood gets the most out of his young cast by playing them down. Similar to real-life soldiers allegiance to the team is the actors’ goal creating authenticity. Intense stress requires the actors to have genuine instincts. But by intentionally constructing a more lived-in feel there is consequently no flashy or Oscar-worthy stand-outs. To his credit Walker who usually goes for the brain-dead million dollar paychecks tries something different here while in his pivotal role Beach plays the juicy role as best as he can. Still Beach’s breakdown scene is quite honestly one-dimensional and doesn’t have the same dramatic impact as say Born on the Fourth of July’s Tom Cruise. Of Flags’ likely award recognitions the acting seems to have the least chance of reaching the winner’s circle. Vintage Eastwood is a lion in winter directing as though there’s no tomorrow. With Flags he interweaves numerous themes to create a war movie which despite its cliché-filled genre is constantly real in tone. The film is historically credible from the American perspective only but Eastwood has also directed a companion piece Letters from Iwo Jima about the Japanese side which hits theaters next year. Complex themes of celebrity worship also give the film a post-modern jaded Iraq War-era vision. Then there are the visuals. Eastwood incorporates breathtaking CGI shots of the fleet of warships reminiscent of Troy on top of an old-style photographic framing black and white and green all washed-out. It’s like looking at a scrapbook of old photos on a high-definition CD-ROM. Naturalistic scenes--sprawling in their panoramic framing with cactuses and hills of black sand--remind us we’re watching one of America’s cinematic icons at work. Flags could be Eastwood’s third Best Director Oscar--and will likely net him $100 million-plus at the box office.