There are a couple of reasons why you should see Gran Torino: the story line is original and the acting is authentic.

And, take note, the movie shows that Clint Eastwood has mastered the art of growling.

Eastwood, who also directs the movie, plays a slightly grumpy Korean War vet named Walt Kowalski who has just lost his wife. In fact, the film opens on a not-so-bright note with her funeral and Kowalski eying his grandchildren in an unpleasant way, to say the least.

Kowalski has every reason to dislike his family. In fact, they’re barely part of the film, and when they do appear, it’s to ask something along the lines of “what are you going to do with that car when you die?”

But the man isn’t your typical “old fellow.” At 78, Eastwood proves intimidation has no age limit. Kowalski is as racist and intimidating as possible, making every imaginable racial slur under the book, and jokes about countless ethnic groups. “I thought Asian girls were supposed to be nice” is just an example.

Yet you can’t help but feel for the old man, and the reason is the way Kowalski interacts with his Hmong neighbours.

At first, the movie resembles Freedom Writers with Hillary Swank. There are gangs based on ethnicity and culture, and fights caused by cultural differences. But there’s much more to the film.

Gangs and violence play a secondary role to Kowalski’s interactions with teenage neighbour Thao (played by newcomer Bee Vang). Their relationship changes drastically from when they first meet when Thao attempts to steal Kowalski’s glimmering 1972 Gran Torino, to developing a grandson-grandchild bond.

It’s impossible to hate Eastwood’s character because of the way he defends his neighbours. The first time, Kowalski points a gun at gang members trying to lure Thao, claiming they were on his lawn, but later on he clearly develops a bond with his neighbours and rescues the family more than once.

Eastwood proves in the film why so many actors want to work with him. He adds just the right dose of humour, sympathy and bitterness to make his character come to life. Newcomer Ahney Her, who play’s Thao’s older sister Sue Lor, steals the scene at moments, and her fictional brother Bee Vang does a great job developing a relationship with Eastwood in the movie.

An interesting sub plot is Kowalski and the priests who he calls “padre,” and their encounters. The two always talk about life and death and how Kowalski’s wife made him promise her that he would keep an eye on the old man and bring him to confess something. Their scenes will keep you wanting to know exactly what Kowalski has done, and their conversations and metaphors about life and death are very cool.

It’s Eastwood’s portrayal of the old man that makes this movie great. Everyone has a grandfather or a neighbour that is exactly like Kowalski, and a part of this is owed to the screenplay by Nick Schenk. Many times Kowalski comes off as blunt, but it adds to the reality of his character. The fact that not just him, but even some of his Hmong neighbours have prejudices in the beginning, make the movie original.

At times the pace is slow, but the acting makes up for it. Still the movie may not satisfy die-hard action fans who need racing cars and splattered blood, but for everyone else, it’s a must see. Eastwood proves he can drive this Gran Torino.