While watching Gran Torino, you wouldn't think it was directed by a Hollywood legend. Its good intentions but often cartoonish way of going about things seem to indicate the involvement of a filmmaker who's a little wet behind the ears. Were this the case, I'd wish him the best of luck and hope he hones his talents in future movies. But alas, Gran Torino was helmed by the one and only Clint Eastwood, a guy who's been around the block a few times and should've know better than to let his latest project become the melodramatic wreck it is.

Eastwood also makes his return in front of the camera as Walt Kowalski, a retired auto worker mourning the recent loss of his wife. Alienated from his own sons, Walt is content to spend the rest of his days guzzling beer and keeping watch over his increasingly diverse neighborhood. One night, tensions between neighborhood kid Thao (Bee Vang) and some thugs spill over into Walt's yard, at which point he whips out his rifle and becomes a local hero. Though he initially shuns the admiration of Thao's relatives, Walt gradually becomes more accepting, putting his racist exterior to the side as he spends time with both Thao and his spitfire sister Sue (Ahney Her). But the gang isn't going to back down that easily, strengthening their assault on Thao the more Walt tries to stick up for him. Eventually, Walt arrives at a point at which enough is enough, forcing him to take drastic steps to ensure that Thao's family lives in peace.

The title Gran Torino comes from a prized car owned by Walt, which Thao attempts to steal early on as part of a gang initiation. The car serves a symbol of another time, a bygone era that Walt seems hopelessly stuck in despite the ever-changing world around him. It's a very touchy premise that, depending on how it's handled, could make or break a film; unfortunately, luck is not on Mr. Eastwood's side. Gran Torino makes the mistake of assuming good intentions alone are all a movie needs to succeed. I know many viewers enjoy it, probably for the wise message it imparts at the end. At a time when Rambo's solution to cultural genocide involves a few machine guns and a machete, it's a relief to see a film that acknowledges how violence doesn't necessarily solve everything. But in reaching this point, Eastwood runs into trouble. He's not ill-equipped, as all the ingredients for a minor classic are there for the taking, but he definitely goes about bringing the material to life the wrong way.

There's a fine line between using humor to bring levity to a dark situation and being laughably tactless. It's a real shame when Gran Torino adopts the latter attitude, especially considering how great it could've  been. But instead of using subtlety and somber storytelling to relay its themes, Gran Torino becomes  simplistic to an almost insulting degree. There's hardly an inch of depth to any of the characters, who feel vapid and dictated entirely by their pre-ordained personalities. Eastwood's Walt comes the closest to having a heart, but even he appears like a glorified grumpy old man. We're led to believe decades of emotional baggage have molded his grizzled demeanor, but his nonchalant delivery of various ethnic slurs is way overdone. The same goes for his careless clan, a brood too inconsiderate even by cinematic standards. I hoped newcomers Vang and Her would bring a collectively earnest quality to their performances, but instead, they show how rough around the edges they are. Her's one-note character hammers her unconvincing spunkiness into your skull with every scene, whereas Vang just kind of grumbles his way through his role.

I wouldn't call Gran Torino a total bust. The final scenes do ring with some poignancy, the overall message is quite noble, and Eastwood continues to tower above Hollywood's latest crop of so-called tough guys. But Gran Torino is a film I should have liked more. It's a great story ruined by the way it's told. 

MY RATING: ** (out of ****)

(Released by Warner Bros. and rated "R" for language throughout, and some violence.)