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For his fourth directorial feature in the span of two years Clint Eastwood tells the story of a grizzled Korean War vet's reluctant friendship with a Hmong teenage boy and his immigrant family. Set in contemporary Detroit GRAN TORINO tackles the shifting cultural and economic landscape of not only the Motor City but America as well. Eastwood stars as Walt Kowalski an unabashed bigot who never heard a racial insult he didn't love. Bitter haunted and full of pride Walt refuses to abandon the neighborhood he's lived in for decades despite its changing demographics as he clings desperately to a mindset long since out of step with the times. When his Hmong neighbor Thao tries to steal his prized muscle car as part of a gang initiation Walt is forced to grapple with the world around him. GRAN TORINO's approach to the complicated issue of race relations is equal parts Archie Bunker and CRASH. That is to say there is nothing subtle about Walt's bigotry yet his misanthropy knows no bounds and Eastwood does a remarkable job of finding the humor in Walt's equal opportunity racism. More than simply a racial morality tale however GRAN TORINO is about the unlikely bonds that people form to navigate the subtle complexities every day life. Like MILLION DOLLAR BABY GRAN TORINO explores the challenging yet rich new world that can open up when individuals let down their guard even if for just a moment. Estranged from his family and his church and without any sense of personal peace Walt offers all that he has to Thao and his family namely wisdom and protection. When tragedy strikes the family Eastwood allows a little classic Harry Callahan to poke through but the surprising finale posits a hero that Dirty Harry would never have the guts to be. It's a potent symbolic gesture to Eastwood's own growth as a storyteller.
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Paulina Rubio's giddy, silly personality bubbles forth all over this album; she sounds like she's having a blast on every song, even the ones that are about the pitfalls of love. She's a pure pop artist, throwing anything and everything at the wall with no goal beyond a hooky melody, and Gran City Pop has plenty of them. Arrangements run the gamut from the acoustic guitar and organ of Amanecí Sin Ti to the big sampled Gary Glitter beat of first single Causa y Efecto, the New Order-style pulsing bassline of Enséñame, and the Lady GaGa-esque electro-disco of Algo de Ti, with sampled strings rubbing against hard synth lines. Perhaps the most surprising track on the disc, though, and one of its definite high points, is the hip-hop/ranchero fusion Ni Rosas Ni Juguetes, which sounds like it could have been produced by Camilo Lara of Mexican Institute of Sound. Over a thunderous boom-bap beat, Rubio half-raps, half-sings about how flowers and toys won't earn her love; it's exactly the kind of culture-blending, boundary-dissolving sound that encapsulates modern Latin pop, and it's brilliant. Almost miraculously, this album's style-hopping, from electro to pop/rock (sometimes sounding like Electronic, as on A Contraluz) to indefinable blends of whatever works, never becomes tiresome. That's a tribute not only to Rubio's producers, but to her own force of personality. She's one of the most vibrant performers in Latin pop, and based on this album, she's not going anywhere anytime soon. ~ Phil Freeman, Rovi
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For his fourth directorial feature in the span of two years Clint Eastwood tells the story of a grizzled Korean War vet's reluctant friendship with a Hmong teenage boy and his immigrant family. Set in contemporary Detroit GRAN TORINO tackles the shifting cultural and economic landscape of not only the Motor City but America as well. Eastwood stars as Walt Kowalski an unabashed bigot who never heard a racial insult he didn't love. Bitter haunted and full of pride Walt refuses to abandon the neighborhood he's lived in for decades despite its changing demographics as he clings desperately to a mindset long since out of step with the times. When his Hmong neighbor Thao tries to steal his prized muscle car as part of a gang initiation Walt is forced to grapple with the world around him. GRAN TORINO's approach to the complicated issue of race relations is equal parts Archie Bunker and CRASH. That is to say there is nothing subtle about Walt's bigotry yet his misanthropy knows no bounds and Eastwood does a remarkable job of finding the humor in Walt's equal opportunity racism. More than simply a racial morality tale however GRAN TORINO is about the unlikely bonds that people form to navigate the subtle complexities every day life. Like MILLION DOLLAR BABY GRAN TORINO explores the challenging yet rich new world that can open up when individuals let down their guard even if for just a moment. Estranged from his family and his church and without any sense of personal peace Walt offers all that he has to Thao and his family namely wisdom and protection. When tragedy strikes the family Eastwood allows a little classic Harry Callahan to poke through but the surprising finale posits a hero that Dirty Harry would never have the guts to be. It's a potent symbolic gesture to Eastwood's own growth as a storyteller.
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