Column:

'Torino' is an overindulgent mess

Clint Eastwood fails to personify America's youth.

By Patrick Daugherty

Published Jan. 22, 2009

When the nominations for the 81st Academy Awards were announced Thursday morning, there were many notable omissions, such as the lack of a Best Picture nod for "The Dark Knight" and no acting recognition for Leonardo DiCaprio. But one snub surprised people more than any other: the failure of "Gran Torino" to garner even one nomination.

Many are shocked at the lack of love for American icon Clint Eastwood's story of acceptance and redemption via a little-remembered classic car. But there is one major reason the "Torino" express was derailed: it just isn't any good.

Eastwood has long been one of America's favorite actors. Many view his toughness and no-nonsense demeanor as symbolic of the country as a whole, and his unceasing badassness has entertained even the most hardened of moviegoers.

But at 78-and after a remarkable late career renaissance this decade that has seen him direct three films nominated for the Oscars Best Picture award-it appears that Mr. Squint might finally be out of gas.

Everything about "Gran Torino" is a mess, starting with abysmal supporting acting, absurd, over-the-top dialogue and villains that are about as intimidating as Yosemite Sam. Eastwood makes it damn near impossible from the opening scene, at his wife's funeral where his grandchildren are shown wearing a Detroit Lions jersey and belly-button exposing shirt, to give "Torino" the benefit of the doubt. It is undeniable that American children have lost some of their good manners and politeness in the past few decades, but no child, no matter how ungrateful or bratty, would wear a Roy Williams jersey to a funeral, especially if his parents are the polite yuppies they appear to be in "Gran Torino."

From there, things only get worse as Eastwood calls his Asian neighbors a litany of Asian-related slurs while they take absolutely no offense, and, in fact, embrace him. If Eastwood believes children of the 2000's are self-centered and disrespectful enough to wear a football jersey to a funeral, why does he think they would laugh off being called slurs by an 80-year-old man? Like nearly everything in "Gran Torino," it just doesn't add up.

"Torino" is made all the more frustrating by the fact that its plot and core theme are wholly original, and that most of its faults seem to be easily correctable. If nothing else, just a simple toning down of its cringe-inducing dialogue could have worked wonders.

Walt Kowalski could have been one last iconic character for an actor with many of them, but Eastwood overindulges from the word "go" and never looks back. Perhaps if Eastwood had allowed someone else to direct him in what is likely his career capper, a more subtle, effective movie would have resulted. But as is, "Gran Torino" is one mighty disappointing movie from one legendary American movie star.