Clint Eastwood: Warner Bros. Pictures - 35 Films, 35 Years [Collectible Packaging] [19 Discs]Clint Eastwood: Warner Bros. Pictures - 35 Films, 35 Years [Collectible Packaging] [19 Discs]

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MOVIE DESCRIPTION:

    Hollywood legend Clint Eastwood has touched generations of filmgoers for over half a century. The five-time Academy Award winner has made an indelible mark as one of Hollywood's most iconic actors and insightful directors. In honor of Eastwood's long standing 35 year relationship with Warner Bros. through Malpaso Productions, this definitive collection celebrates Eastwood's entire filmography at the studio from Where Eagles Dare (1968) through Gran Torino (2008) all packaged in an elegant giftset. Also included is an all-new short film about Eastwood's life and career produced by esteemed film critic and documentarian Richard Schickel, featuring in-depth interviews and revealing, intimate footage never-before-seen plus rare photos and letters.

DVD FEATURES:
  • Number of Discs: 19
  • Screen: Color
  • Audio: Dolby Digital Stereo
  • Features:
    • The eastwood factor documentary from film critic and historian Richard Schickel, offering a rare personal look at Eastwood
    • 24-page booklet extracted from Clint: a retrospective by Richard Schnickel, published by sterling publishing co, inc.
    • Insightful studio correspondence and photos
    • Hours of special features including commentaries and featurettes on many films
    • Collectible dvd packaging
AWARDS
  • Academy of Motion Picture Arts and Sciences
  •     Won Best Sound Editing - 2006 (Alan Robert Murray)
  •     Won Best Actress - 2004 (Hilary Swank)
  •     Won Best Director - 2004 (Clint Eastwood)
  •     Won Best Picture - 2004 (Clint Eastwood, Albert S. Ruddy, Tom Rosenberg)
  •     Won Best Supporting Actor - 2004 (Morgan Freeman)
  •     Won Best Actor - 2003 (Sean Penn)
  •     Won Best Supporting Actor - 2003 (Tim Robbins)
  •     Won Best Director - 1992 (Clint Eastwood)
  •     Won Best Editing - 1992 (Joel Cox)
  •     Won Best Picture - 1992 (Clint Eastwood)
  •     Won Best Supporting Actor - 1992 (Gene Hackman)
  •     Won Best Sound - 1988 (Dick Alexander, Les Fresholtz, Verne Poore, Willie D. Burton)
  •     Nominated Best Director - 2006 (Clint Eastwood)
  •     Nominated Best Original Screenplay - 2006 (Iris Yamashita, Paul Haggis)
  •     Nominated Best Picture - 2006 (Clint Eastwood, Robert Lorenz, Steven Spielberg)
  •     Nominated Best Actor - 2004 (Clint Eastwood)
  •     Nominated Best Adapted Screenplay - 2004 (Paul Haggis)
  •     Nominated Best Editing - 2004 (Joel Cox)
  •     Nominated Best Adapted Screenplay - 2003 (Brian Helgeland)
  •     Nominated Best Director - 2003 (Clint Eastwood)
  •     Nominated Best Picture - 2003 (Clint Eastwood, Robert Lorenz, Judie G. Hoyt)
  •     Nominated Best Supporting Actress - 2003 (Marcia Gay Harden)
  •     Nominated Best Sound Effects Editing - 2000 (Alan Robert Murray, Bub Asman)
  •     Nominated Best Actress - 1995 (Meryl Streep)
  •     Nominated Best Actor - 1992 (Clint Eastwood)
  •     Nominated Best Art Direction - 1992 (Henry Bumstead, Janice Blackie-Goodine)
  •     Nominated Best Cinematography - 1992 (Jack N. Green)
  •     Nominated Best Original Screenplay - 1992 (David Peoples)
  •     Nominated Best Sound - 1992 (Dick Alexander, Les Fresholtz, Verne Poore, Rob Young)
  •     Nominated Best Sound - 1986 (Dick Alexander, Les Fresholtz, Verne Poore, William Nelson)
  •     Nominated Best Original Score - 1976 (Jerry Fielding)
  • American Film Institute
  •     Won Best Picture - 2008
  •     Won Best Picture - 2006
  •     Won Best Picture - 2004
  •     Won Best Picture - 2003
  •     Won 100 Greatest American Movies - 1998
  • American Society of Cinematographers
  •     Nominated Best Cinematography - 1995 (Jack N. Green)
  • Art Directors Guild
  •     Nominated Best Art Direction in a Contemporary Film - 2008 (James Murakami)
  • Austin Film Critics
  •     Nominated Best Picture - 2008
  • Berlin International Film Festival
  •     Film Presented - 2007
  • Boston Society of Film Critics
  •     Won Best Actress - 2004 (Hilary Swank)
  • British Academy of Film and Television Arts
  •     Nominated Best Cinematography - 1992 (Jack N. Green)
  •     Nominated Best Original Screenplay - 1992 (David Peoples)
  •     Nominated Best Picture - 1992 (Clint Eastwood)
  •     Nominated Best Supporting Actor - 1992 (Gene Hackman)
  •     Nominated David Lean Award - 1992 (Clint Eastwood)
  • Broadcast Film Critics Association
  •     Won Best Foreign Language Film - 2006
  •     Won Best Actress - 2004 (Hilary Swank)
  •     Nominated Best Actor - 2008 (Clint Eastwood)
  •     Nominated Best Director - 2006 (Clint Eastwood)
  •     Nominated Best Picture - 2006
  •     Nominated Best Director - 2004 (Clint Eastwood)
  •     Nominated Best Picture - 2004
  •     Nominated Best Supporting Actor - 2004 (Morgan Freeman)
  • Cannes Film Festival
  •     Won Best Actor - 1988 (Forest Whitaker)
  •     Won Grand Technical Prize - 1988
  •     In Competition - 2003
  • Chicago Film Critics Association
  •     Won Best Foreign Language Film - 2006
  •     Won Best Director - 2004 (Clint Eastwood)
  •     Won Best Supporting Actor - 2003 (Tim Robbins)
  •     Nominated Best Actor - 2008 (Clint Eastwood)
  •     Nominated Best Cinematography - 2006 (Tom Stern)
  •     Nominated Best Director - 2006 (Clint Eastwood)
  •     Nominated Best Original Score - 2006 (Kyle Eastwood, Michael Stevens)
  •     Nominated Best Original Screenplay - 2006 (Iris Yamashita)
  •     Nominated Best Actor - 2003 (Sean Penn)
  •     Nominated Best Director - 2003 (Clint Eastwood)
  •     Nominated Best Picture - 2003
  •     Nominated Best Screenplay - 2003 (Brian Helgeland)
  •     Nominated Best Supporting Actress - 2003 (Marcia Gay Harden)
  • Dallas/Fort Worth Film Critics Association
  •     Won Best Foreign Language Film - 2006
  •     Nominated Best Picture - 2006
  • Directors Guild of America
  •     Won Best Director - 2004 (Clint Eastwood)
  •     Won Best Director - 1992 (Clint Eastwood)
  •     Nominated Best Director - 2003 (Clint Eastwood)
  • French Academy of Cinema
  •     Won Best Foreign Film - 2003 (Clint Eastwood)
  • Hollywood Foreign Press Association
  •     Won Best Foreign Language Film - 2006
  •     Won Best Director - 2004 (Clint Eastwood)
  •     Won Best Performance by an Actress in a Motion Picture - Drama - 2004 (Hilary Swank)
  •     Won Best Performance by an Actor in a Motion Picture - Drama - 2003 (Sean Penn)
  •     Won Best Performance by an Actor in a Supporting Role in a Motion Pictu - 2003 (Tim Robbins)
  •     Won Best Performance by an Actor in a Supporting Role in a Motion Pictu - 1992 (Gene Hackman)
  •     Won Best Director - 1991 (Clint Eastwood)
  •     Won Best Director - 1988 (Clint Eastwood)
  •     Nominated Best Original Song - 2008 (Jamie Cullum, Clint Eastwood, Kyle Eastwood, Michael Stevens)
  •     Nominated Best Director - 2006 (Clint Eastwood)
  •     Nominated Best Original Score - 2004 (Clint Eastwood)
  •     Nominated Best Performance by an Actor in a Supporting Role in a Motion Pictu - 2004 (Morgan Freeman)
  •     Nominated Best Picture - Drama - 2004
  •     Nominated Best Director - 2003 (Clint Eastwood)
  •     Nominated Best Picture - Drama - 2003
  •     Nominated Best Screenplay - 2003 (Brian Helgeland)
  •     Nominated Best Performance by an Actress in a Motion Picture - Drama - 1995 (Meryl Streep)
  •     Nominated Best Picture - Drama - 1995
  •     Nominated Best Picture - Drama - 1992
  •     Nominated Best Screenplay - 1992 (David Peoples)
  •     Nominated Best Performance by an Actor in a Motion Picture - Musical or Comed - 1988 (Forest Whitaker)
  •     Nominated Best Performance by an Actress in a Supporting Role in a Motion Pic - 1988 (Diane Venora)
  • Kansas City Film Critics Association
  •     Won Best Foreign Language Film - 2006
  • Las Vegas Film Critics Association
  •     Nominated Best Picture - 2006
  • Library of Congress
  •     Won U.S. National Film Registry - 1996
  • Los Angeles Film Critics Association
  •     Won Best Cinematography (Runner-up) - 2006 (Tom Stern)
  •     Won Best Director (Runner-up) - 2006 (Clint Eastwood)
  •     Won Best Picture - 2006
  •     Won Best Picture [Runner-up] - 2004
  •     Won Best Supporting Actor [Runner-up] - 2004 (Morgan Freeman)
  •     Won Best Actor - Runner-up - 2003 (Sean Penn)
  •     Won Best Director - 2003 (Clint Eastwood)
  •     Won Best Actor - 1991 (Clint Eastwood)
  •     Won Best Director - 1991 (Clint Eastwood)
  •     Won Best Picture - 1991
  •     Won Best Screenplay - 1991 (David Peoples)
  •     Won Best Supporting Actor - 1991 (Gene Hackman)
  • National Board of Review
  •     Won Best Actor - 2008 (Clint Eastwood)
  •     Won Best Original Screenplay - 2008 (Nick Schenk)
  •     Won Best Picture - 2006
  •     Won Best Actor - 2003 (Sean Penn)
  •     Won Best Picture - 2003
  •     Nominated Best Picture - 2008
  •     Nominated Best Picture - 2004
  •     Nominated Special Filmmaking Achievement - 2004 (Clint Eastwood)
  •     Nominated Best Picture - 1992
  • National Society of Film Critics
  •     Won Best Actor - Runner-up - 2004 (Clint Eastwood)
  •     Won Best Actress - 2004 (Hilary Swank)
  •     Won Best Director (Runner-up) - 2004 (Clint Eastwood)
  •     Won Best Picture - 2004
  •     Won Best Picture (Runner-up) - 2004
  •     Won Best Supporting Actor (Runner-up) - 2004 (Morgan Freeman)
  •     Won Best Actor - Runner-up - 2003 (Sean Penn)
  •     Won Best Director - 2003 (Clint Eastwood)
  •     Won Best Picture (Runner-up) - 2003
  •     Won Best Screenplay (Runner-up) - 2003 (Brian Helgeland)
  •     Won Best Supporting Actor (Runner-up) - 2003 (Tim Robbins)
  •     Won Best Actor - Runner-up - 1992 (Clint Eastwood)
  •     Won Best Director - 1992 (Clint Eastwood)
  •     Won Best Picture - 1992
  •     Won Best Screenplay - 1992 (David Peoples)
  •     Won Best Supporting Actor - 1992 (Gene Hackman)
  •     Won Best Director - 1991 (Clint Eastwood)
  •     Won Best Picture - 1991
  •     Won Best Supporting Actor - 1991 (Gene Hackman)
  •     Nominated Best Picture - 2006
  • New York Film Critics Circle
  •     Won Best Director - 2004 (Clint Eastwood)
  •     Won Best Supporting Actor - 1992 (Gene Hackman)
  •     Won Best Supporting Actress - 1988 (Diane Venora)
  • New York Film Critics Society
  •     Won Best Director (Runner-up) - 2006 (Clint Eastwood)
  • New York Film Festival
  •     Film Presented - 2003
  • Phoenix Film Critics Association
  •     Won Best Foreign Language Film - 2006
  •     Nominated Best Picture - 2006
  • Producers Guild of America
  •     Nominated Best Picture - 2004
  •     Nominated Producer of the Year - 2003 (Clint Eastwood, Robert Lorenz, Judie G. Hoyt)
  • San Diego Film Critics Association
  •     Won Best Director - 2006 (Clint Eastwood)
  •     Won Best Picture - 2006
  • Screen Actors Guild
  •     Won Best Actress - 2004 (Hilary Swank)
  •     Won Best Supporting Actor - 2004 (Morgan Freeman)
  •     Won Best Supporting Actor - 2003 (Tim Robbins)
  •     Nominated Best Ensemble Acting - 2004
  •     Nominated Best Actor - 2003 (Sean Penn)
  •     Nominated Best Ensemble - 2003
  •     Nominated Best Actress - 1995 (Meryl Streep)
  • Southeastern Film Critics Association
  •     Nominated Best Picture - 2006
  • Telluride Film Festival
  •     Film Presented - 1990
  • Utah Film Critics
  •     Won Best Foreign Film - 2006
  • Writers Guild of America
  •     Nominated Best Adapted Screenplay - 2004 (Paul Haggis)
  •     Nominated Best Adapted Screenplay - 2003 (Brian Helgeland)
ADDITIONAL INFORMATION:
REVIEWS:
  • A far better film than it really has any right to be, Clint Eastwood's adaptation of Robert James Waller's bestselling novel converts a breathlessly overwrought piece of writing into a moving melodrama in the classic mold. Though it starts badly and comes to a halt every time it returns to its modern day framing device, whenever the film concentrates on the illicit romance of Eastwood and Streep -- which is most of the film -- it serves as a model of understated direction and unimpeachable performances. An unlikely pairing of acting styles, Eastwood and Streep perfectly embody their unlikely lovers. Playing a woman realizing for the first time that she might not be resigned to a life of underappreciated boredom, Streep strikes the right note of nervousness and ecstasy. But unlike its most immediate model, Brief Encounter, since it dwells equally on both lovers, the film turns on Eastwood's performance. Here he transforms his character from a figure of fantasy into a fully-realized man who slowly recognizes his own unspoken loneliness. Though the film's final act drags on well past its emotional climax, as a director Eastwood -- working from a script by Richard LaGravenese -- elsewhere avoids indulgence and always stays away from overt sentimentality, allowing his film to work as a heartbreaking story of hard choices and unrealized dreams. ~ Keith Phipps, Rovi
  • An unusually populist comedy for a director of such normally refined tastes, this geriatric space adventure from Clint Eastwood spoofs the aging of the Baby Boomer generation with broad appeal, but flags in its poorly structured third act. While Space Cowboys gets off to an interesting start in a flashback sequence that casts lookalike actors with their voices dubbed by the film's stars, the story's central conceit (four aging would-be astronauts getting one last chance to blast off) is exhaustively rehashed, making for a tiring set-up. Once the quartet of creaking seniors is in training for their mission, however, the film finds its legs and purpose, sending up the idea of vitamin-popping oldsters rediscovering their right stuff with zeal and relish. When its characters finally achieve orbit, the film loses its way again, stumbling with a subplot involving an egotistical young colleague who botches a job and the unexpected illness of a central figure. Nevertheless, Space Cowboys is about two-thirds of a fine and enjoyably risible comedy that is a bounce back for Eastwood after stumbling badly with his last directorial effort, True Crime (1999). ~ Karl Williams, Rovi
  • Apart from being a notorious tough guy, actor/director Clint Eastwood is also a notorious jazz aficionado, and Bird is his sprawling, impressive tribute to one of the great jazz saxophonists of all time, Charlie "Bird" Parker. Parker, one of the originators of bebop, died at an early age due to a long-standing relationship with the high life. Forest Whitaker, who won best actor at the Cannes Film Festival for this role, does an excellent job of capturing the larger-than-life, ultimately destructive man whom many credit for inventing "cool." The film follows Whitaker's somber example, eluding explanations or historical documentation. Though Eastwood has made some very fine movies as a director, Bird is certainly his most accomplished and mature visually. He pulls out techniques that one might not have suspected he had. He also breaks away from the straightforward narrative style of his mentors, Don Siegel and Sergio Leone. Eastwood's almost impressionistic memory montage as Bird lays dying is probably the most striking directorial achievement that he has produced. The narrative is a bit too disorganized to deliver the full thematic punch that the movie strives for, but the performances of (Whitaker and Diane Venora as Bird's wife) and the lasting images make it a significant achievement for Eastwood behind the camera. ~ Brendon Hanley, Rovi
  • Appearing two years after Kevin Costner's Oscar-winning megahit Dances With Wolves, Unforgiven helped spur a mini-revival of the moribund genre in the 1990s that included Posse (1993), Tombstone (1993), and Sharon Stone's "Man With No Name" turn in The Quick and the Dead (1995). Written by David Webb Peoples in 1976, the script was bought by Clint Eastwood in the early '80s, though he waited until he was old enough to play psychotic antihero William Munny as a grizzled veteran of a bloody past, rather than someone closer to the younger Eastwood of Sergio Leone's "Dollars" trilogy and Don Siegel's Dirty Harry (1971). Upon its release in August 1992, seven years after Eastwood's previous western Pale Rider, Unforgiven was praised as an uncompromising revisionist masterpiece, showcasing Eastwood's visual command of western landscapes and locations and his perceptive yet critical view of the genre's mythology and his own place in its "machinery of violence." After deliberately pacing the reemergence of Munny's pathology, Eastwood shrouds the climactic shoot-out in cinematographer Jack N. Green's dark shadows and heavy rainfall reminiscent of film noir, rendering Munny's return to Eastwood's lethal star form unsettling in its victory. Unforgiven became an unexpected serious hit in a season of popcorn movies, eventually grossing over $100 million and reviving Eastwood's star standing after a series of late '80s flops. After winning several critics' prizes, it became one of only a handful of westerns to win the Best Picture Oscar; Eastwood's status behind the camera was finally acknowledged with a Best Director statuette. ~ Lucia Bozzola, Rovi
  • Clint Eastwood began directing his own pictures just as such new Hollywood filmmakers as Sam Peckinpah and Arthur Penn were replacing the honorable stoicism of old John Wayne films with a more brutal amorality. Eastwood-directed Westerns tend to mix qualities from both traditional and modern forms of the genre: the title character in The Outlaw Josey Wales, for example, is somewhere between hero and anti-hero. He's similar to the "Man with No Name" character from the Fistful of Dollars trilogy, but he's an altogether nicer cowpoke. Josey Wales is an altogether nicer movie as well. Though our hero isn't guaranteed a happy ending, there is a reassuring sense of right and wrong. It's a much different feel from the era's prevailing Westerns. Eastwood didn't direct another Western until 1985's Pale Rider. ~ Brendon Hanley, Rovi
  • Clint Eastwood followed up his Oscar-winning, critically acclaimed Unforgiven, the Western to end all Westerns, with another impressive, but grossly underappreciated work, A Perfect World. The film is portentously set in Texas in 1963, and it offers a compelling examination of the nature of American violence. Some Eastwood fans were probably put off by the fact that it's Kevin Costner who plays the traditional Eastwood part, the outlaw with a code of honor, while the man himself is relegated to playing, very effectively, the inept authority figure. In fact, by directing White Hunter, Black Heart, Unforgiven, and this film in succession, Eastwood demonstrated his willingness to critique his own status as an American icon, to an extent that few actors in such a position ever had. These films feature some of his best work as an actor, and there's not an unconditionally heroic figure in any of them. A Perfect World is probably the most moving of the three films, with the wonderful complexity of Kevin Costner's performance as the well-meaning but emotionally combustible Butch Haynes, playing off a touchingly naturalistic performance by child-actor T.J. Lowther as his entranced hostage, Phillip Perry. The film compellingly contrasts the uncontrollable violence of Haynes -- which arises from his own history of abuse and from his passionate beliefs -- with the calculated, state-sanctioned violence of the FBI sharpshooter, Bobby Lee (Bradley Whitford), whose cold competence in the name of ideology tellingly alludes to the contemporaneous assassination of President John F. Kennedy. With its well-drawn characters, its action and humor, and its moral complexity, A Perfect World is one of Eastwood's strongest films, as both an actor and a director. ~ Josh Ralske, Rovi
  • Clint Eastwood re-affirmed his directorial talents with this adept, atmospheric portrait of Savannah, GA based on John Berendt's wildly popular non-fiction bestseller. Eastwood wonderfully captures the pervasive feel of the Southern city's idiosyncratic subculture: The Savannah of Midnight is a world in which the everyday and the bizarre are one and the same. The film itself has a similar Southern drawl, unhurried and rich with suggestion. Kevin Spacey plays the potentially-murderous Jim Williams such that the character becomes a metaphor for the internally-conflicted South. John Cusack is reliably likeable, though the film's dependence on his character to move the plot along is one of its chief weaknesses. A couple of factors may have harmed Midnight's success at the box office: its laid-back, 155-minute running time is a bit long for most attention spans; and Eastwood took on the near-impossible task of visualizing a story that had already been realized in the heads of millions of readers. Still, the film remains a wonderful snapshot of an original, completely American slice of life. ~ Matthew Doberman, Rovi
  • Clint Eastwood's assured helmsmanship of this sweet and gentle comedy marks a change in direction and image for the former Dirty Harry. While Bronco Billy occasionally suffers from ingratiating lapses of tone, Eastwood's rock solid presence both before and behind the camera keeps the film from losing its focus. The aging and shabby Bronco Billy's fading success presages the impending death of the Western genre itself, which gave Eastwood his youthful employment and fame; hence, the film acts as a funhouse mirror, held up by a wry filmmaker delighting in making ironic commentary on his image and fame. Contrastingly, the film's sweetly nostalgic tone also conveys Eastwood's deep love of the Wild West and the simple values of the old-fashioned cowboy characters who fantasize about inhabiting it. Sondra Locke's shrieking debutant character provides comic and dramatic contrast to the genuinely folksy figures of the Bronco Billy show, allowing Eastwood to poke fun at the privileged, silver-spoon class who seem consistently immune to the charms of his blue collar (and occasionally red necked) efforts. ~ Dan Jardine, Rovi
  • Clint Eastwood's entry into the school of "good ol' boy" action comedies that Burt Reynolds popularized with Smokey and the Bandit is far from his best work but doesn't deserve the critical vilification it has received over the years. It's one of Eastwood's less consistent films from this era, primarily due to Jeremy Joe Kronsberg's script; the characters are fitfully amusing but the pacing is too slack and the storytelling too episodic to generate the electric charge of a top-notch slapstick comedy. It also gets bogged down in an array of subplots that are never integrated in a thoughtful or interesting way. Despite these key story flaws, Every Which Way But Loose remains an engaging affair for a few reasons. The first is its lack of pretension: director James Fargo keeps viewers from pondering the weak storyline by treating the film like a live-action cartoon and piling on car chases, bloodless bar brawls, and slapstick with vigor and gusto. The second is the skilled comic performances of the cast: Geoffrey Lewis makes a great deadpan comic foil for Eastwood, Sondra Locke brings the right intensity to her "lady of mystery" character, and Ruth Gordon is a total scene-stealer as the foul-mouthed, ill-tempered Ma. The final and most important reason is Clint Eastwood's performance: his work here reveals a skill for dry comedy that had only been touched on in his other films and his amiable performance reveals a star who is not only willing to act funny but is also capable of poking fun at his own "macho" image. In the end, Every Which Way But Loose is too much of a mixed bag to be given an unreserved recommendation, but it is well worth a look to fans of cartoonish comedies and anyone seriously interested in Eastwood's career. ~ Donald Guarisco, Rovi
  • Clint Eastwood takes the old plot about the tough Marine drill sergeant trying to whip a bunch of new recruits into shape and manages to inject some life into it. He stars as Sgt. Tom Highway, a misanthropic misfit who has sacrificed his wife, family, friends, and everything else to his life in the Corps. Appropriately enough, he's assigned to shape up a platoon of young misfits and bad-asses from his old outfit. Somewhat bending genre conventions, Eastwood has given the film an elegiac undercurrent, as the fifty-plus warrior reviews his past screw-ups with his ex-wife. Of course, this is counterpointed by a number of scenes of heavy-duty bone-crunching as the old man shows his young troops that he's not about to retire any time soon. The heroic invasion of Grenada in the film's conclusion is something of a disappointment since the director, perhaps not surprisingly, has chosen to play it straight. Eastwood's direction is vigorous and terse, and the script by former Marine James Carabatsos is a nonstop virtuoso display of some of the most creative profanity to be heard in a motion picture. Among the cast, Marsha Mason and Mario Van Peebles do notable work. ~ Michael Costello, Rovi
  • Hard as it may be to believe, this sequel and its predecessor, Every Which Way But Loose (1978), were major hits of the "good ol' boy" school of filmmaking dominated by stars Clint Eastwood and Burt Reynolds in the late '70s. Featuring car chases, rotund idiot cops or bikers in pursuit, some sort of goofy animal frolic, country tunes, and tee shirt-clad he-men good with their fists and CB radios but emotionally challenged by women, the type came and went (thankfully) in a flash, but wracked up some serious box-office coin. Gleefully embracing the conventions of its bizarre genre, this flimsy excuse for drunken brawling, pratfalls, and lowbrow monkey humor actually works almost as well as the film that preceded it. Director Buddy Van Horn and Eastwood don't pretend to make more of it than it is, and keep the pace taut, the jokes flying -- so that you don't notice the clunkers as much -- and wisely get scene stealer Ruth Gordon to re-up as the protagonist's salty mater. If it all seems a retread of the first flick, well, it is, but it's still funny to see an orangutan give a gang leader the finger and fun to shake your head in disbelief at the door-slamming sound effects every time Clint connects a punch to his opponent's jaw. The first film's weaknesses are all here again as well, notably Sondra Locke in an utterly pointless role as a stone-faced country singer delivering a less persuasive performance than the aforementioned primate. Strictly for fans of a strange, best-forgotten era of artistic drought in the cinema, Any Which Way You Can can nevertheless be enjoyed for its effectively stupid yuks and its status as a relic of its absurd times. ~ Karl Williams, Rovi
  • "I know what you're thinking, punk...." So begins the most memorable speech from one of cinema's most memorable police officers, "Dirty" Harry Callahan, a role inextricably linked with Clint Eastwood. For fans of hard-boiled detective thrillers, this film has it all. It has so much, in fact, that it would be easy to write it off as gritty-cop-movie cliché, were it not for the fact that Dirty Harry practically invented the genre. If you've seen it before, it probably started here. Dirty Harry is definitely not a politically correct film, and some have decried it as right-wing propaganda. To be sure, criminals' rights are not something that Callahan has much use for, and whiny lawyers are the enemy of honest cops in Harry's world. Dirty Harry is a great example of how an actor can make a role his own; the part was originally offered to Frank Sinatra, then passed through the hands of John Wayne and Paul Newman, before Eastwood got hold of it. This was the fourth time that Eastwood had worked with director Don Siegel, and the pairing clearly works well, augmented here by a snazzy score by Lalo Schifrin. While the violence might be a little strong for some viewers, and others might have trouble rooting for an end-justifies-the-means kind of cop, Dirty Harry is one of the best cop movies, and one of the best movie cops, of all time. ~ Matthew Doberman, Rovi
  • In addition to working well as an Eastwood actioner, The Gauntlet should probably serve as ground zero for any study of his films' attitude toward women. Eastwood's hard-living, success-starved cop begins the film as an unrepentant sexist, but after being saddled with an antagonist/love interest Sondra Locke, who more than holds her own against him, he leaves the film with an adjusted attitude. That Locke plays a no-nonsense, tough-as-nails, world-weary prostitute only makes his progress that much more curious. It's these sort of difficult to disentangle, seemingly contradictory politics that make even Eastwood's least ambitious films -- of which Gauntlet is certainly one -- rewarding viewing. This attitude toward women in particular has caused him to be reviled as a sexist and lauded as a feminist; whichever way you choose to look at it, The Gauntlet makes for gripping, if familiar, viewing. Eastwood's character's gutter integrity may be imported from the Dirty Harry series, but his deliberately paced direction -- in addition to matching the open spaces of his Southwestern setting -- allows him to explore the details of the persona to a greater extent in a film that's as interesting as much for what's in its margins as for what happens in center stage. ~ Keith Phipps, Rovi
  • In this 1969 spine-tingler, allied soldiers infiltrate a mountaintop castle in the Bavarian Alps to rescue a captured general who knows the plans for D-Day. The production features parachute jumps, gunplay, explosions, spectacular scenery, and frozen hands reaching for survival on a rock face. And then there are the narrow escapes in which the heroes dodge gunfire in castle corridors, drive a bus through mountain passes, and take off in a plane thinking all is well when it isn't. In short, Where Eagles Dare is a pip of a film from start to finish. Rousing music and a lively script, adapted by Alistair MacLean from the novel he wrote, complement bully performances by Richard Burton and Clint Eastwood. As British Maj. John Smith and American Lt. Morris Schaffer, raspy Burton barks commands while cool-man Eastwood nullifies Nazis with blades and bullets. Excellent performances from Michael Hordern as British Vice Adm. Rolland and Derren Nesbitt as Nazi Major von Harpen support the performances of Burton and Eastwood. But it is the action and the pacing that are the real stars. Dressed in German uniforms, the allied infiltrators take a perilous cable-car ride, get pulled through windows, and mingle with the enemy while a new danger lurks around every corner. Surprises abound as the allies discover that not everyone is who he is supposed to be. Meanwhile, the audience chews knuckles as the music builds, and a final, shocking secret manifests itself. ~ Mike Cummings, Rovi
  • Sort of a lurid variation on a Dirty Harry movie, Tightrope plumbs darker psycho-sexual depths than the usual mainstream detective film. In a particularly challenging role, Clint Eastwood plays the homicide detective who finds that his "deviant" sexual predilections mirror the ones of the serial killer he is chasing. As Dirty Harry, Eastwood helped to blur the lines between cop and criminal, but this sort of examination of perversity is somewhat unique to his career. Written and directed by the little-known Richard Tuggle (Escape from Alcatraz), the film eventually settles into a more standard crime movie scenario, but it's Eastwood work as the tortured policeman that keeps the film compelling. Cinematographer Bruce Surtees's sleazy vision of New Orleans completes the film's effect. Given its subject matter, Tightrope performed surprisingly well at the box-office. ~ Brendon Hanley, Rovi
  • The best decision made by director Clint Eastwood in Million Dollar Baby is to allow Clint Eastwood the performer to drop his screen persona and actually act. As the weathered boxing trainer Frankie Dunn, Eastwood does not seem larger than life, he seems beaten down by it. His banter with Morgan Freeman, as a boxer he used to train, occasionally plays like a brilliantly written Seinfeld episode featuring senior citizens. But often those conversations suddenly hint at great pain and regret, adding an unexpected gravity. Hilary Swank provides the necessary drive and spunk to make the audience believe she would eventually win the emotionally closed-off Frankie over. The first half of the film, an excellently observed boxing drama, allows the audience to meet the characters and understand where they are in their lives. However, a big event happens (one that would be inappropriate to reveal in this review) and the second half of the film becomes an old-fashioned melodrama. Eastwood's directorial style can be described as low-key, even when the emotions in the film are practically operatic. This decision will either draw audiences in to the characters' struggles, or it will distance viewers who feel the film is not allowing them to feel the emotions as fully as possible. At worst, people will be interested in rather than involved with the characters, but those who respond to Eastwood's style will probably be emotionally devastated. What one is left with is a memory of Eastwood's face, that leathery mask of taciturn male pride, cracking with the recognition of where his own life choices have left him. He has directed better films, but he has never given a better performance. ~ Perry Seibert, Rovi
  • The fifth and probably final entry in Clint Eastwood's Dirty Harry series is an efficient and occasionally witty retrofitting of the familiar formula. The title refers to a betting pool being held in San Francisco in which participants try to guess which one of a group of eight celebrities will be the first to die. When one of them is murdered, Harry begins his investigation while being hounded by obnoxious television reporter Samantha Walker (Patricia Clarkson), with whom he eventually becomes involved. Although it's basically business as usual for Harry, who, at this point seems more dyspeptic than dirty, Eastwood gets in a few ideas between shootouts. Without a trace of irony, he tells Walker how disgusted he is with the way the news media exploits violence to spike ratings. Of course, this new Gandhian Harry then gets right back to blowing people away. Also in a comic vein is the parody of the famed Bullitt (1968) car chase, as Harry is forced to dodge an explosives-laden, tiny model car rampaging through the streets of San Francisco. In a film without much interest in anyone who might be emoting, Liam Neeson has a fine turn as a horror film director. ~ Michael Costello, Rovi
  • The first time we see Walt Kowalski, Clint Eastwood's character in Gran Torino, he looks like he's about to explode -- literally -- as in spontaneously combust. Standing at his wife's funeral and growling to himself as his family files in, he looks as if he could go nuclear at any given second, like he might take off sprinting through the pews, snapping as many necks as possible in a grim attempt to ensure that his recently deceased wife isn't lonely in the afterlife. The impression that his character makes is direct and unmistakable, and the whispered conversation that takes place between his two sons as they ponder what will become of the rancorous war veteran ensures that we know exactly where he's at in life before the end of the first scene. It's plain to see that Walt has precious little tolerance for foolishness, and now that he's alone, there's no buffer between his bitterness and the outside world.

    Walt Kowalski is a Korean War veteran who worked the assembly lines in Detroit after returning home from the war, bottling his demons up tight and secure as he got married, started a family, and settled down in a nice house. But over the years, Walt's close-knit community gradually began to change, and as his neighbors all died or moved away, their homes were purchased by low-income families and immigrants, the latter of which were largely Hmong families from Vietnam, seeking to escape persecution for aiding American forces during the war. His next-door neighbors are just such a family, and Walt begrudges them not only for being "zipperheads" and "yammering gooks," but even more so for the fact that their dilapidated, ill-maintained home sits directly adjacent to his perfectly manicured lawn. He's not a very likeable guy, though he largely keeps to himself until one night when he notices someone with a flashlight snooping around in his garage. Assuming the worst, Walt grabs his M-1 rifle and heads down to investigate. Once inside, he confronts bumbling would-be thief Thao (Bee Vang), who has been pressured into stealing Walt's vintage Gran Torino as part of a gang initiation rite. But Thao is hardly the gangbanger type; he lives in the house next door, and he's more apt to be caught doing the dishes or gardening rather than roaming the streets looking for trouble. Later, when the gang returns to give Thao a second chance at proving his manhood, the conflict quickly spills over into Walt's yard, prompting the curmudgeon next door to come barreling down the front porch, rifle in hand and ready for action. As a result, the gangsters beat a hasty retreat, and Thao's family begins showering Walt with gifts as a means of thanking him for keeping the boy from falling in with a dangerous crowd. Little does Walt realize that his instinctive action has laid the groundwork for an unanticipated new chapter of his life, a chapter that will teach him not only the true meaning of tolerance, but the value of finally making peace with his past, and letting go of the death that has haunted him ever since returning home from the war.

    In those early scenes where Walt glares spitefully at the house next door, trading barely audible barbs with the elderly Hmong grandmother affixed to the front porch, the character's overt racism and grizzled rage are played to almost comic effect. It's in these scenes that Eastwood plays it smart, too, by subtly highlighting the things that Walt has in common with his neighbors (such as a shot of the wake dinner at Walt's that will later be echoed when he ventures into the neighbor's house for the first time), yet fails to notice while looking through the blinders of bigotry. Walt may be prejudiced and short-fused, yet, despite his outward flaws, he's essentially a decent, hardworking man whose old-school views of race, honor, and dignity are hopelessly out of step with the contemporary era of political correctness. Eastwood realizes that by getting his audience to laugh at Walt, he also opens a door for them to try and better understand the character. We get an early glimpse of Walt's inherent good nature when, after happening across Thao's strong-willed sister Sue's (Ahney Her) attempt to fend of the advances of some intimidating street thugs, he immediately comes to her rescue. The conversation they share, as Walt drives his thankful passenger home, reveals a lot about both the would-be victim and her grouchy savior, without ever feeling like exposition. It's around this point in the film that Walt becomes something more than just a caricature, and begins to take on actual dimension as a sympathetic character whose outlook on life isn't as simple as his off-putting rhetoric may suggest. The moment serves as a catalyst for a more open dialogue between the disagreeable neighbors, and affords Eastwood and screenwriter Nick Schenk the opportunity to examine how Walt may have more in common with his immigrant neighbors than he does with his own flesh and blood. It makes for an interesting dynamic as Thao crosses the lawn to make amends for causing his curmudgeonly neighbor so much trouble, and as the focus shifts from Walt's prejudice to his attempt to "man up" the feminized teen and come to terms with the atrocities he committed in Korea, we begin to gain greater insight into the complications that can sometimes come with living in a more culturally diverse society.

    If this truly turns out to be Eastwood's final onscreen role -- as he's frequently claimed in interviews -- it seems like a suitable exit for the seasoned screen icon. The character of Walt Kowalski seems like something of an amalgam of Eastwood's most memorable characters -- from the taciturn Man With No Name to hotheaded Dirty Harry, straight through to his tormented former gunslinger from Unforgiven. It will no doubt be a fairly monumental loss to the world of cinema should Eastwood deliver on his promise never to act again, though at this point, his onscreen signature as a director is nearly as recognizable as his own weatherworn mug. Over the years, his skills as a visual storyteller have sharpened to a fine point, and Gran Torino does have the feel of a swan song, not only due to the specifics of Eastwood's character, but also for the simple fact that the film itself just feels flawlessly constructed. Every action in the film has a consequence, and all of the main players have a pivotal role in affecting the development of the story. For all these reasons, Gran Torino will have a definite appeal for longtime fans of both Eastwood the actor, and Eastwood the director. ~ Jason Buchanan, Rovi
  • The fourth Dirty Harry film will probably be best remembered for providing pop culture with one of the most popular quotes in movie history, "Go ahead. Make my day." Dirty Harry was originally a character truly conflicted about his desire for justice and his desire to follow the law. By this point, in a more culturally conservative climate, Harry had (d)evolved into a one-man wrecking crew that the audience was to support wholly and completely. Where the first Dirty Harry was very much a part of its time (early '70s questioning of the breakdown of societal barriers), Sudden Impact is a product of the Ronald Reagan '80s. The more interesting film comes from the more interesting time. Although Eastwood played Dirty Harry one more time, it was obvious from this effort that the character and the series had hit a creative dead-end. ~ Perry Seibert, Rovi
  • "The past is not dead; it is not even past," said William Faulkner, and that sentiment certainly applies to director Clint Eastwood's acclaimed intimate epic Mystic River. The film is a mournful and effective murder mystery, but beyond that, it is a wrenching character study and a trenchant exploration of the dark themes that have been prevalent in Eastwood's work throughout the later part of his directing career. Violence is rampant in Mystic River, and even when its consequences rip the souls from these characters, they do not learn from it. The film is a showcase for Sean Penn, playing Jimmy, an emotionally volatile ex-con who casts aside his efforts to live within the law when his beloved daughter is brutally murdered, and Tim Robbins' heartbreaking performance as Dave, a man broken by an insurmountable childhood trauma. These actors receive excellent support from Kevin Bacon and Laurence Fishburne as the homicide detectives stoically investigating the crime and Thomas Guiry as the daughter's secretive boyfriend. Laura Linney and especially Marcia Gay Harden, as Jimmy and Dave's wives, respectfully, do excellent work, but the script falls short in fleshing out their characters' motivations. Gracefully shot (by Tom Stern) and edited (by longtime Eastwood collaborator Joel Cox), the film suffers from a somewhat contrived and familiar story line, but still manages to build up considerable emotional weight. While Mystic River is too uneven to rank with Eastwood's best work, its strong performances and uncompromising bleakness make for a powerfully moving cinematic experience. ~ Josh Ralske, Rovi
  • The third entry in the Dirty Harry action film series is one of the most underrated. The script by Stirling Silliphant and Dean Riesner leans a bit too heavily on verbal humor at times, but delivers its surprisingly complex scenario in an easily followed style punctuated by plenty of action. Director James Fargo gives the film a steady pace that allows the dramatic moments room to breathe, but keeps the story moving forward an energetic pace. He also shows considerable kinetic flair in the action scenes; highlights include Callahan busting up a hostage situation with his police car and an exciting rooftop chase that climaxes with a hair-raising plunge through a skylight. The Enforcer is also notable for humanizing Harry Callahan through his dealings with his female partner, Kate Moore. His transition from grudging respect to true acceptance of his partner adds an unexpected element of touching emotion to the proceedings. Eastwood handles this transition in a skillful low-key fashion that makes the softening of his gruff character believable, and Tyne Daly handles her role as Moore with a deft combination of wit and nervous charm. Other memorable performances include Bradford Dillman as Harry's perpetually enraged superior officer and Albert Popwell's moody turn as radical leader (and unexpected Callahan ally) Big Ed Mustapha. The one real problem with The Enforcer is that it lacks a singular villain worthy of its formidable hero. The film's hippie villains, inspired by the Symbionese Liberation Army, lack the strength or depth to pose a memorable threat to the hero. Despite this problem, The Enforcer remains a brisk action programmer that is worth the time for Clint Eastwood fans. ~ Donald Guarisco, Rovi
  • This oft-overlooked spy thriller was not a hit for Clint Eastwood but it is one of his most interesting efforts from the early 1980's. Firefox benefits from an intricate script that blends genres and offers unique twists on familiar elements. For example, the story's espionage angle is given an added edge by the fact that Eastwood's character is a pilot sent in on a rushed mission and not a trained spy: as a result, his mistakes and the fear he feels in unfamiliar surroundings enhance the suspense of his mission. Eastwood does well in the director's chair, orchestrating the many suspense sequences in an effective, low-key style that eschews action in favor of carefully-built tension. He also deploys some large-scale visual effects by John Dykstra in an impressive manner during the jet-driven finale. The character of Mitchell Gant stretches Eastwood out of his comfort zone as an actor -- the character's flashback scenes require a level of Method-acting intensity that Eastwood never quite summons up -- but he does a solid job of portraying Gant's quiet fear and paranoia on the mission. His work in this area is aided immensely by excellent support performances from Freddie Jones as a dryly humorous British intelligence agent and Warren Clarke as a stern but brave Russian operative who helps Eastwood behind enemy lines. To sum up, Firefox is a much better film that its reputation suggests and well worth the time for spy movie fans and Eastwood aficionados alike. ~ Donald Guarisco, Rovi
  • Though in many ways a departure for Clint Eastwood both as an actor and a director, White Hunter, Black Heart explores a subject close to his heart: the Hemingway-inspired tough-guy artiste, a tradition that stretches beyond the film's ostensible subject, John Huston, to include Eastwood-mentor Don Siegel, and in some respects Eastwood himself. Despite their obvious physical differences, Eastwood's performance instantly evokes Huston while stopping safely short of a mere impersonation. He makes his character extremely appealing without hiding his flaws. As a director, Eastwood keeps the film moving along in a way that allows its more difficult themes -- colonialism, self-destructive bravado, racism -- to emerge naturally without seeming in the least heavy-handed. Though he fashions himself a rebel against the hypocrisies of English propriety, the evolution of Eastwood's character is the realization of his own implication in what he hates. By the film's unforgettable conclusion he recognizes, like Marlow in Heart Of Darkness, that Africa is too much for him. Also worth noting: Hunter features a solid supporting performance from, of all people, direct-to-video fixture Jeff Fahey. ~ Keith Phipps, Rovi
  • Time and again, Clint Eastwood's films have returned to the subject of killing. They try to get at the forces that enable someone to take another man's life, and in the best of his films like Unforgiven and Mystic River, he addresses the multiple ramifications of that action. With a superb script by first-time screenwriter Iris Yamashita, Letters from Iwo Jima allows Eastwood to analyze killing and death in so many different contexts, the audience is left with nothing less than a catalogue of the emotional and physical costs of war. Of the movie's many accomplishments, its capacity to utilize and subvert the clichés of combat films might be the most noteworthy. In Letters from Iwo Jima, the Japanese soldiers have the same dreams, desires, and attitudes as every American GI from every war movie ever made. For example, early in the film a young soldier mocks his orders to dig a seemingly pointless hole, and the audience obeys its war-movie programming to sympathize with that rebellious spirit even though the character is Japanese. Anybody familiar with the genre expects the hole-digging soldier to learn the importance of following orders, and the soldier does learn his lesson, but in ways that force him to question most everything he has been taught about his people. Eastwood subverts the clichés in order to allow the audience to sympathize with the Japanese as a whole, and he allows the actors the breathing room to create individual human beings that we care about specifically. Ken Watanabe, as General Tadamichi Kuribayashi, holds the center of the film with a gravity, intelligence, humanity, and reverence that is nearly operatic in the context of the tragedy he oversees, while never once seeming larger than life. Watanabe is remarkable in every moment his character spends onscreen, always credible as an inspiring leader of men, an educated tactician, a loyal soldier, and a simple man who wishes life were different than it is. This performance embodies the spirit of Eastwood's film: a spirit that recognizes the human cost of combat, as well as the limits and necessities of living by a code of honor. Letters from Iwo Jima is the culmination of Eastwood's already-formidable directorial career, offering a fully formed statement on the motifs that have dominated his movies, and a work that will stand as one of the quintessential combat films of all time. ~ Perry Seibert, Rovi
  • True Crime, Clint Eastwood's 21st effort as a director, features his usual markings, but also a few new wrinkles. The adjustments seem dictated by the advancing age of Eastwood's usual leading man -- himself. While this makes True Crime an interesting outing for Eastwood, he still has a couple of adjustments to make. The crime drama carries Eastwood's stamp by offering a flawed hero, efficient storytelling, quality acting, and a moody style with both light and dark moments. What sets the film apart is that the suspense comes primarily from an intellectual race against the clock and not a set of physical action pieces. Eastwood's Steve Everett uses brains, not bullets. In Magnum Force, Dirty Harry says, "A man's got to know his limitations," and late in his career, Eastwood the director seems to realize that Eastwood the actor is too old to make a convincing action hero. But he doesn't seem to realize that he's also too old to make a convincing stud; the fact that every woman in the film wants to bed Everett undermines the believability of the plot. In fact, the plot as a whole is fairly incredible. Screenwriters Larry Gross, Paul Brickman, and Stephen Schiff make it a bit too easy for Everett to solve this case, with much of the unfolding mystery coming off as contrived. On the plus side, the characters are all believable as full-fledged humans, thanks to the actors. All of the performances are excellent, especially that of Isaiah Washington) as doomed convict Frank Beachum, whose born-again Christianity comes off as heartfelt. Still, Everett's personal story is more compelling than the execution story, and Eastwood's best moments come in the comedic scenes opposite James Woods and Denis Leary. ~ John L. Messina, Rovi
  • When the deconstructive Western Unforgiven brought Clint Eastwood unprecedented respect, it was tempting to hope the newly minted auteur would reserve himself for superior projects and artistic themes close to his heart. What an appropriate metaphor for his career, then, that Eastwood's latest, Blood Work, is about a transplant of that essential organ. It's as though what makes Eastwood tick has been supplanted by a foreign presence his body can't reject, leaving him content to toe the (assembly) line and glumly perpetuate his Absolute Power-True Crime school of pedestrian thrillers. It's also tempting to suggest that this aging treasure of tough guy machismo has "still got it," but Blood Work returns quite the opposite verdict. Eastwood is finally starting to look fragile and elderly -- in fact, thank goodness his character is weak following major surgery, because it provides a narrative explanation why the actor's voice is more gasp than rasp. But Blood Work is depressing in so many ways that aren't traceable to Eastwood's frailties. Tops on the list is the utter conventionality of the script, which follows the familiar path of the umpteen thrillers in which serial killers taunt celebrity FBI agents for the purpose of aggrandizing and fetishizing their crimes. Brian Helgeland has fallen far from his days as writer of L. A. Confidential if this soap opera dialogue and ham-fisted foreshadowing is all he can muster. The tone is schizophrenic, caught between the misplaced gravity of Eastwood's recent films, the ludicrous renegade posturing of his Dirty Harry days, and a cops-and-donuts style of comedy (embodied by pesky irritant Paul Rodriguez) that was never fashionable. Long before the laughable finish, the test results of this Blood Work have already come back negative. ~ Derek Armstrong, Rovi

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