'The Mule' is Clint Eastwood's most charming film in years

I have long been a fan of Clint Eastwood as a film director as an actor -- in the 2000s in particular he seemed to be on a particularly strong run, culminating with what was widely seen as his swan song (at least as a performer) 2008's unlikely blockbuster Gran Torino.

But 10 years later, the now 88-year-old Eastwood is still at it, long after his iconic Hollywood peers have retired or passed on. Say what you will about his off-screen commentary, but you gotta admire his tenacity and stamina.

I haven't liked much of his work since his infamous empty chair performance at the 2012 RNC. The films have become too simplistic, and while complexity was never his strong suit, his sometimes hokey and ham-fisted tendencies really had started to wear on me. Even his recent hits like Sully and American Sniper fell short for me.

I'm happy to report that The Mule, while not as compelling as his strongest works like Unforgiven and Million Dollar Baby, is an immensely charming, satisfying film. Who knows if he still has more movies in his tank, but if this is the last ride for Eastwood, its a good one.

Eastwood is looking more frail than ever, and he uses his age to great comic effect in this movie -- flummoxed by cell phones and political correctness. And this isn't just another grumpy old man performance -- Eastwood dances -- repeatedly -- in this movie, and romances sexy younger women and on the whole, gives a moving, committed and charismatic performance as an octogenarian who becomes a successful drug mule for some generic Latino cartel.

I found myself marveling at what an amazing career this man has had, and how at ease he is in his own skin at this point. He may be the best director of himself as an actor of anyone I can think of.

The movie surrounding him is a pretty sentimental affair. There are lots of good performers in supporting roles that are largely thankless, including Bradley Cooper as a DEA agent hot on Eastwood's tale, and Laurence Fishburne as his superior. Both actors have had meatier parts in past Eastwood films and I presume they're repaying the favor in what mostly amounts to a light comedy.

This is not pulse pounding action or a noose-tightening thriller -- it's mostly just a bemusing, ambling character study that comes to a conclusion that feels inevitable, but still resonates emotionally. Eastwood has a particularly heartbreaking scene towards the end where he unsubtly underlines the theme of the movie -- about making sure you take the time to spend with the ones you love.

Ultimately, Eastwood is playing someone not unlike himself -- someone who gives on f**ks and just wants to wring every ounce out of life that he can. And there are few sights I've seen in movies this year that is more infectious than watching him gleefully mingle with booty-shaking babes at a party at a drug kingpin's house.

Sure, there is the requisite cultural insensitivity that comes along with almost any Eastwood picture these days. And some of the familial drama just doesn't have the impact he wants it to. But this still is still an incredible feat for someone his age, with this many pictures behind him.

I think I'll always be an Eastwood fan, empty chair and all, and I'm grateful to this movie for reminding me why.