Things take a turn when Walt steps up to protect his property and ends up saving the neighbors from a local gang that has come to give Thao a second chance. This paints Walt as something of a hero to the neighborhood, a title he wants absolutely nothing to do with.
What happens next shows that the old man can learn new tricks, or at least has the intelligence to realize that he needs to adapt somewhat if he is ever to make peace with himself. He is forced into the role of mentor to Thao. He teaches him how to work with tools and uses him to help fix up homes around the neighborhood, and even goes so far as to teach him how to interact with other males. By imparting this knowledge to Thao and by taking an interest in the boy, he is awakening something inside himself. His desire for redemption becomes stronger and stronger.
The story is a simple one, but it is told in a way that is simultaneously hilarious and achingly sad. It is a balance that cannot be easy to maintain, yet it holds throughout as the story builds to a climax that is wholly unexpected and leaves deep emotional marks. It is a credit to screenwriters Nick Schenk and David Johannson that the story holds true through the climax, never feeling watered down for easy consumption. On top of that, leave it to Clint Eastwood to bring it to the screen in such fashion.
The acting is fine. Clint Eastwood clearly has a handle on Walter and does not shy away from being politically incorrect. The character spouts racial epithets at nearly every opportunity, even when he likes his chosen target. Bee Vang may not be the greatest of actors (there are a few moments that are sure to induce some unintentional chuckles), but there is genuine development as he slowly opens up throughout the film. Likewise, Ahney Her, playing Thao's older sister Sue, also delivers the goods with some sparkling delivery and a rapport with Clint's Walter that works to deepen the meaning of Walt's transition.
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