A Good Year (2006) User Reviews

Very enjoyable - ignore the reviews!

[sarum100 · 7/10 · 5 November 2006]

This is definitely the first time I have gone to see an Russell Crowe and/or Ridley Scott film at the cinema, fully bracing myself to be disappointed and...

I am very pleased to be able to say that I enjoyed it thoroughly. It has a very warming glow to it - beautifully played; gorgeously shot. Anyone who isn't just a little bit seduced by Provence after seeing it needs their head (or more likely their heart) examining. The lessons may well have been taught in a hundred films before, but that doesn't make them any less relevant or resonant for the commercial era in which many of us now live...

So, why the terrible reviews? I really don't know. The comedy was not overplayed in the way implied by the critics at all. To be blunt, it was not really necessary, as the warmth and effectiveness of the film and story lies in the romantic drama. The comedy is fine, but doesn't really add anything to the film. However, it does give it a very upbeat, cheerful and likable feel and maybe that is reason enough.

Max's character and Russell Crowe's performance? It's in the quieter moments where Crowe really excels and shows just why someone would want to cast him, as opposed to say Hugh Grant, in a film like this. His reactions to memories and the things that other characters do and say are just so much deeper and more real than Grant is capable of: which is why Grant always comes off as the same character in these films (a variation on the Grant formula) and Max comes off as real.

It almost seems as though the critics have a film with this plot pegged into a box: because they can only see (and can only expect to see) a Hugh Grant characterisation, they cannot accept anything other than a Hugh Grant characterisation. Whereas the actual reason that Crowe doesn't come off as Hugh Grant is because he isn't channelling that kind of characterisation at all. This is a very different kind of film.

Also, the critics seem to be completely off the mark in assessing the character, when they say that he starts off a bastard and ends a bastard too. Actually, this is far more about unearthing other qualities - not completely rejecting those 'bastard' qualities that he begins the film with, but refining and diluting them, as he becomes more and more adjusted to his past. He doesn't change, he opens his heart and mind to qualities that he has been ignoring within himself. You can see that other Max from the moment he opens the letter telling him Henry is dead - but he tries to resist the feelings that are clearly there, in large part because he doesn't want to face the fact that he has let his Uncle down - and all of the guilt that is allied with that.

The film is not the best film I have ever seen. The questions it asks are fairly fundamental, but they aren't startling or especially thought provoking.

But the film is highly enjoyable, from start to finish; and it's warm, something that is pretty rare in films these days.

So, to end, clearly I am not in tune with the critics - but then, increasingly that seems to be the case nowadays. I just think that I see completely different films to them...

A tasty vintage

[critter-26 · 8/10 · 13 October 2006]

A Good Year is much like Peter Mayle's other books – shortish, picturesque, sometimes mouthwatering, generally light and definitely charming.

To that end, this film does the book excellent justice and even manages to make the cinematic transition without losing or adding much in the process. (Max has however become a blend of Wall Street's Gordon Gecco and Capt. Aubrey – a cold power hungry cut-throat exterior with a bit of a romantic hedonist hiding a Depardieu-like charming buffoon locked inside.) Sir Ridley Scott makes it clear that the real star here is the Provencal countryside in all of its golden sun soaked glory. Russell is the fulcrum that moves us from one beautiful scene to the next, lightly shuffling and dancing in over-sized pajamas with a suit jacket and a tie for a belt.

And oddly, this isn't necessarily a bad thing.

As obvious as the story line is (both in the book and the film) it remains absolutely charming and Crowe's performance is an essential part of what makes it work, hammy or no. He looks great and his trust in Scott as a director allows him to simply have fun here – a nice break from all of the heavy (and often heavy handed) Oscar bait bio-pics he's pigeonholed himself into recently.

The rest of the cast is picture perfect. I've been waiting to see when Freddie Highmore would play a young Russell and he's lovely here, big eyed and gracefully gawky as young Max. He holds his own against Albert Finney's lovingly blustery Uncle Henry. Marion Cotillard is gorgeous as Fanny and also sturdy enough to hold her own against both Max and Crowe himself. Abbie Cornish is pretty and sweet and her American accent is damn near perfect. Isabelle Candelier is a colorful counterpoint to Max's stuffy British ways, but it is Didier Bourdon who nearly walks away with the picture. His is a character we haven't seen done a million times before and whose eyes hint at a story equal in richness to the Château itself. Archie Panjabi is Max's assistant, a character created for the film. As the all knowing and mischievously wicked Gemma she appears ready to run away with this picture. (And as always watch for a cameo by Ridley Scott's longtime partner Gianina Facio – I won't spoil your fun by telling you where she appears.) Again, there is nothing new or groundbreaking here. It will be compared to Under the Tuscan Sun and a long history of countless other films of this nature – an attractive woman or handsome bastard gets in touch with who they really are, gets back to basics and becomes who they were always meant to be.

Forgive me for taking this path, but the wine/film comparisons are inevitable with this one.

Like most of the films made today the fresh elements in this film come from the particular vision of the film maker, the chemistry of the cast and the way all of it can come together in a charming and palatable fashion. In other words, the blending of the key ingredient's.

It all comes down to being a matter of chemistry, craftsmanship and preference. Chemistry causes the grape to ferment and become wine. Craftmanship and experience make that wine something worth drinking. Chemistry amongst the elements of a film – story, cast and setting makes these pieces form a cohesive whole. Craftsmanship and experience make it a palatable film.

And the rest is simply a matter of taste.

Though it lacks the crisp originality of a sauvignon blanc, the hipness of a pinot grigio or the bold edginess of a Cabernet, but the elements here come together to make a film that plays pleasantly over the tongue like a decent rose – easy to sip and enjoy and given the chance could well leave you with the warm glow of a late summer afternoon.

But enough with the wine clichés! You could easily take advantage of the value of a matinée or opt to wait for DVD, though neither will do the scenery justice. This sweetly charming film will hold up equally well as a date movie, a mid week escape or something that you can take Mom to.

Worth a look.

-Roo's Reviews

A Moment Spent with Marion Cotillard Would Make My Year!

[tccandler · 7/10 · 27 October 2006]

Food tastes better there. The women are naturally beautiful. Walks are more romantic. Wine is more complex... but life is less so. France can turn good memories into grand ones. It replaces currency with passion. It replaces accumulation with appreciation.

I believe the above statement to be very true. France is among the loveliest countries that I've ever been privileged to visit. If they had ESPN, I'd consider moving there. So when I heard that Ridley Scott was directing Russell Crowe and Marion Cotillard in a film about a money-hungry British stock-broker who is lured into giving it all up for an inherited French vineyard, I thought it would be right up my alley.

To be honest, the film is so far up my alley that I felt my dreams were being violated. I cannot imagine a life more pleasurable than one spent living in a château, overlooking my own vineyard, waking up every morning to the glorious sensation of Marion Cotillard's morning breath. I'm practically orgasmic at that idea.

"A Good Year" is a crystal glass filled to the brim with 1982 Château Margaux... but unfortunately diluted by some city tap water.

As mentioned before, I loved the premise. The cast is equal to the task. The cinematography is only enhanced by the country's natural canvas. The music is eclectic and joyful, ranging from old standards to a traditional up-tempo score to the modern energy of tracks like Alizee's "Moi Lolita" -- which was, oddly, not chosen to play upon the arrival of a certain character. Nevertheless...

Everything about this film is a deliciously prepared meal... on a paper plate. The plate, in this case, is a flimsy script that brushes over too many details, cannot maintain its tone for more than a scene or two, reaches for grandeur without ever attaining it, and presumes its audience is naive and unworldly.

There are just too many scenes in this film that demanded more time and effort. Characters fall in love too easily. Massive decisions are taken too lightly. The tone shifts uncomfortably from romantic to slapstick to tragic to wistful to sarcastic. It all just felt a little forced. Screenwriter, Marc Klein, seems to be trying too hard. And Ridley Scott seems rushed, as though the studio demanded a running time under two hours.

It is a shame really, because the film has greatness in it... but they uncorked the bottle before it had time to mature.

Russell Crowe is relentlessly reliable on screen. He rarely, if ever, gives even a mediocre performance. It is no wonder that he is so highly regarded. I just thought that his character, Max Skinner (too obvious), was written so two-dimensionally as to handcuff his immense talent. I also thought his English accent was a little too "mate, blimey, b*llocks, b*gger, tally ho" -- If you know what I mean.

Marion Cotillard is typically brilliant as Fanny Chenal, the glorious vision of a waitress from the nearby town. She gives the film, and Max, some heart and soul. She is a fiery French lass with shampoo-commercial hair and skin that makes silk seem like sandpaper. I can't get enough of this actress. She is the visual equivalent of Pringles... once you pop, you can't stop.

Relative newcomer, Abbie Cornish, is also very impressive here. Again, her character, like all the others, is somewhat underwritten. She deserved much more screen time. However, this critic is 100% sure that she will have tons of screen time in many major films over the next decade or so. She is a future star, with talent and beauty in equal measures.

"A Good Year" may remind many of the similar Diane Lane adventure from the female perspective, "Under the Tuscan Sun". The main difference, aside from the sex of the protagonist, is that "Tuscan" decided from the get-go that it was going to be a lighthearted romantic comedy. I think that the screenplay for "A Good Year" got a little confused along the way. Sometimes it aims higher... and that is when it works the best. Other times it aims lower... and that is when it dwindles into lame slapstick comedy. If it had maintained a lofty romantic tone, it may have been one of the best films of the year. As it stands, it is a merely a nice film with a pleasant message.

© Written by TC Candler IndependentCritics.com

It's your life that does not suit this place.

[lastliberal · 7/10 · 25 March 2008]

Who wouldn't want an uncle that left them a vineyard in Provence? Why would anyone have to think twice about a life of sipping wine and Marion Cotillard, who looked her real beautiful self, and not the character she portrayed in La Vie en rose? But, Russell Crowe was making this choice and provided an enjoyable romantic comedy about a successful trader that inherits a château in France. Crowe provided just the right touch in this film. The comedy was subtle and not overdone had they cast someone like Hugh Grant for the lead. The magic with Cotillard could not have been done with anyone else either.

I had heard some criticism of this film and was wary, but I was mildly surprised at just how enjoyable it was. Of course, Albert Finney added to that enjoyment, and the enchanting Archie Panjabi as Gemmy, but none so much as Cotillard.

Pleasant and likable. Gorgeous views. But does not quite live up to its pedigree.

[bopdog · 7/10 · 29 October 2006]

You can't not like this movie. the scenery is absolutely jaw-dropping, drop-dead gorgeous. It's worth a trip to the cinema just to bask in the lush French countryside. With such stellar talent as Ridley Scott, Albert Finney, and Russel Crowe, however, one expected a tad bit more.

Not to say this wasn't enjoyable. I'm glad I went. But it was a '7', even though those involved were all of the '10' calibre. The script was a bit 'jerky'--- i.e., it went in fits and starts. The frustration humor was definitely annoying--- it's not ever my thing, and wasn't here, either. But the cast was immensely likable, and again, the scenery. Oh my gawd!!! What a visual treat, and a pleasant enough rom-com.

This Ridley Scott directorial effort reminded me a lot of director John Boorman, and his 1989 (-ish) under-rated movie, 'Where the Heart Is'. Boorman was 'getting on' in his successful career, and he made that movie with one of his daughters as producer, and maybe writer, too (?). As an aside, she sadly died from brain cancer, so this movie is a kind of memorial, too, I would guess.

Its initial concept was as a British comedy of eccentricities, and fitted the English context and culture perfectly. It was translated and transported, for some unknown reason, to a New York locale, with a stellar cast--- Dabney Coleman, Uma Thurmon, Maury Chaykin, Suzi Amis, Christopher Plummer, etc. The art work and some of the scenes were amazing and heart-opening and stupendous! The movie, however, had some fundamental flaws as well. I suspect something went horribly wrong with some scenes or characters or something, and an important chunk or chunks were cut out of some key portions. Whatever happened--- it was somehow 'broken', and thus will never gain the wide-spread acclaim and fame it could have had, and maybe deserves in spite of the mistakes. Nonetheless, I own TWO copies of the video (they are impossible to get anymore, so they're in my 'vault'), and have watched it 2 dozen times over the years. Despite its frustrating limitations, I LOVE that movie!

Sorry, I rambled. the point is, it was a largely beautiful and mostly entertaining 'stumble' by a GREAT auteur who was seeking a new way to express himself. 'A Good Year' may be the same: Star talent all around, a thing of beauty to admire and enjoy, but, alas, some quirky and rather important flaws, too.

Oh well. At least Ridley Scott took an artistic chance. At least he showed up! He deserves our praise for that, and you might want to go see this flick anyway--- you'll like it! It's a great 'tone' and 'mood piece'--- uplifting and a bit soppy, in the best possible way!

OK comedy/drama from Scott

[come2whereimfrom · 7/10 · 12 November 2006]

Comedy drama and Ridley Scott are not two things you would normally associate, Russell Crowe and Ridley Scott are, so teaming up again after 'Gladiator' they join forces to bring us 'A Good Year'. It is the story of a high-flying stockbroker (Crowe) who is basically an absolute person without a father, he cares about no one, loves money and especially loves being an arrogant git. But when his uncle Henry dies and leaves him a vineyard in France his initial thoughts are how much can he sell it for but over the course of the film he awakens within himself distant memories he thought he'd buried and begins to see things a little differently. Splashed with a little tragedy as well as the humour the film does make you think about some of life's big questions such as is money important? or is love important? What makes someone happy? Etc but without ever being over sentimental or too deep. The film is populated by an array of characters both in London and France that add a richness to Crowe's central performance and some unusual camera work from Scott make the film flow along at a pace just above relaxing. The scenery is as beautiful as you can expect from the south of France and forms a lush backdrop to the proceedings, as does Henry's run down villa. Ultimately it is a film about one mans struggle with his identity in a world where he thought he had to behave a certain way. It is his interaction with the people he meets and the lessons he realises he learnt from Henry as a child that in a way were detrimental to start with but eventually lead him to make the right choices. Well directed and acted, this is a film that wears its heart on it sleeve, it is warm and welcoming, funny and sad, different from his usual subject matter but none the less another film Scott can be proud of.

Better than the critics say

[Drtimk · 9/10 · 12 November 2006]

Like the reviews overseas,Australian critics have generally snubbed this film as bland and contrived with some nasties regarding Russell's accent and wooden comedy delivery.

I thoroughly enjoyed this intoxicating film which I agree has its faults, however it succeeded in its core themes of love,friendship and beauty as being central to a well lived life.

I feel Crowe does a good job as Max, an arrogant and ruthless bonds dealer who inherits a château from his Uncle Henry(Finney). Initially interested in how much money this can make, circumstances necessitate a longer stay whereby Max begins to recall his many enjoyable Summers spent with his Uncle at the Provençal château.

Marion Cotillard provides the love interest as the beautiful and tempestuous Dark French girl and young Aussie star Abbie Cornish contrasts as the fair blond Californian beauty who is Henry's illegitimate daughter. Both perform well though I know Cornish is much more capable than this role requires.

The movie is a little uneven at times as Max learns his lesson on what is truly important in life.Sometimes the comedy is light, sometimes slapstick, and all this juxtaposed with some sentimentality and more serious moments. Most of the characters are contrived from Max through to the peasant French verniers. However in spite of this the story unfolds in a believable way and the photography is stunning as you would expect of the Province and Scott.The women are gorgeous, the wine looks delicious and the food makes you salivate. It succeeds in its attempt to seduce and makes one a little sad to return to suburbia as I did.

Finally,on Crowe.I feel there are many critics who love to pan Crowe. It has become the fashion.How he missed out on a nomination for Cinderella Man is beyond me.(Though he would not have beaten Hoffman or Phoenix). He is obviously still anathema in Hollywood and to many critics a man they love to hate because he is simply not liked.One critic criticised him in this film because he was unlikeable but surely that was the point! At least he is an actor who acts. I mean Hugh Grant plays Hugh Grant and Tom Cruise plays Tom Cruise.But with Crowe, he always plays his character.And a good job he does once more.

All in all 7 1/2 out of 10.And definitely more delicious on the big screen.

Not very interesting

[siderite · 6/10 · 18 March 2007]

The idea is nothing new. Ruthless city slicker (bond broker, of course) remembers his childhood and regains his soul in beautiful sunny Provence, where his uncle had this great vineyard.

From the very beginning I could see that the introspection, written text bits and some of the details did not fit the usual cliché and that it was probably based on a book. Apparently, Ridley Scott had the idea, gave it to a guy to write the book, then, when the book wasn't quite like what he wanted, he made the film based on the book , but with his original idea in the background. And it shows!

The movie is not terribly romantic, even if it has all the setting and opportunity. It is not a very emotional movie, even if it should have evoked feelings of nostalgia and love of nature. It's not even a nature shot film, as the beautiful scenery is mostly wasted in useless scenes and most of the movie is placed either in the city or in the house.

So where does this get us? Nowhere! Just a failure of a film with a failure of a script. Even my wife said it was bad. Bottom line: really boring and implausible.

A Delightful Way to Spend an Evening

[lostein · 9/10 · 10 November 2006]

As a longtime fan of Russell Crowe, I do know that he can be funny, charming, sweet and romantic, not only on film but in real life. His recent appearances on the TV promotional circuit have proved this once again. Those who only know his films since LA Confidential for the most part focus on his ability to capture and project power, strength and inner turmoil. Those who have seen his films such as Proof, For the Moment, Love In Limbo and The Sum of Us have seen his ability to show the gentler, funnier and often more uncertain sides of the human experience. (I would also argue that these are readily seen in his films such as The Insider, A Beautiful Mind and Cinderella Man.) A Good Year is a wonderful return to the Russell of those earlier films. Like a Fred Astaire and Ginger Rogers movie, you know just where it's likely going to take you, but with such lovely, engaging people in such a wonderful setting you just want to enjoy the trip. And so you shall. What a refreshing change from the overheated, oversexed, over special "effected" and over bloodied fare that Hollywood usually dishes out. Thank you so much Mr. Crowe and Mr. Scott for my little vacation in the South of France!

The Romantic Emancipation of Russell Crowe

[EUyeshima · 7/10 · 12 November 2006]

I have to admit this 2006 movie based on the book by Peter Mayle (whose "A Year in Provence" is a favorite of mine) starts rather unpromisingly since it carries the same smug, self-satisfied attitude that its hero has. Director Ridley Scott takes a while to find the right rhythm for this romantic comedy, but he eventually does, even if it means recycling elements from other similarly executed fish-out-of-water films like "Baby Boom", "Lost in Translation" and "Under the Tuscan Sun". In fact, the whole venture feels decidedly old-fashioned with formula elements feeling like they come from some Universal film made in the 1960's, but the retro-chic aspect somehow works like a fictionalized account of a lifestyle cable channel program since there is little in the way of real dramatic conflict.

Atypically cast in a lighter vein here, the naturally pugnacious Russell Crowe seems to be channeling one of the Grants (Cary or Hugh, take your pick) in portraying a Machiavellian-level London investment banker named Max Skinner, who unexpectedly inherits a dilapidated château and vineyard in Provence from his uncle Henry, a figure he loved as a child but has since become estranged due to Max's selfish, greed-obsessed existence. Written by Marc Klein, the bulk of the movie is about what Max does with the estate as he argues with the longtime vintner and becomes entwined with two women - pretty Christie, who claims to be Henry's illegitimate daughter from a tryst with an American, and the too-perfectly-named Fanny Chanel, a beautiful local restaurateur who tries mightily to resist Max's romantic overtures after a most bumpy start. As Max weighs his options, his unforgiving career and jet-setting lifestyle back in London appear to be in jeopardy.

More like a Cagney than a Grant, Crowe has the type of aggressive screen persona that takes on all comers, so he seems more in his element being a jerk. However, he acquits himself more than you would expect as the story begins to humanize his character, and he is more deft as a comic actor than even Scott presumes. For example, there are extended sequences in an empty swimming pool and during a tennis match when Scott seems to mistake action for slapstick. Max may be Crowe's most likable role since the loving gay son he played in the 1994 Australian indie, "The Sum of Us". In flashbacks, Freddie Highmore, Johnny Depp's protégé in "Finding Neverland" and "Charlie and the Chocolate Factory", affectingly plays Max as a child, even though the lack of physical resemblance is a bit jarring. Better is Albert Finney as rhapsodizing Uncle Henry since his casting hearkens back to the actor's youth in south-of-France-set movies like "Two for the Road" and "The Picasso Summer" in the late sixties.

Australian actress Abbie Cornish convincingly portrays a guileless American with more than a passing interest in wine, while Marion Cotillard is a stunning, feisty presence as Fanny (although the obvious age disparity between her and Crowe makes some of the back story a bit of a head scratch). Entertaining though more standard rom-com contributions are made by Tom Hollander as Max's realtor best friend Charlie (in an update of the usual Gig Young third-wheel role), Didier Bourdon and Isabelle Candelier as caretaker Duflot and his playful wife, and Archie Panjabi as Max's jaded but devoted assistant Gemma. The wine-growing region of Provence hardly needs more exposure in movies, but Philippe Le Sourd's cinematography brings it glowingly to life. A most idiosyncratic soundtrack accompanies the film with genre-irrelevant chestnuts like Patti Page's "Old Cape Cod", Harry Nilsson's "Gotta Get Up" and a French cover of "Yellow Polka-Dot Bikini" by Richard Anthony. This is the kind of movie where you can see the ending a mile away, but I have to say for the most part, I enjoyed the ride.

A very enjoyable film with lots of laughs and excellent performances.

[frances-37 · 8/10 · 5 November 2006]

A demographically mixed audience seemed to enjoy this film very much. The photography was beautiful, the acting excellent, and the supporting players added an extra "punch" to the story line. Tho not an exact replica of the book it is based more on a story line running thru Crowe's and Marion's characters. The emphasis being on Crowe's character finding out what is truly meaningful in his very hectic super-charged rather non ethical life. He rediscovers what he is missing i.e. love, trust, and friendships.

A "Great" date movie. The local scenery should definitely be seen on the "big" screen and not on a DVD! Tho not "Oscar" caliber" it is why most film goers go to the movies; pure entertainment and escapism. Ridley and Crowe have achieved that goal. A "Great" date movie and worth the price of admission

A pleasant diversion en Provence

[JohnDeSando · 6 November 2006]

"The prototypes of strong sensation: blazing lights, red earth, blue sea, mauve twilight, the flake of gold buried in the black depths of the cypress; archaic tastes of wine and olive, ancients smells of dust, goat dung and thyme, immemorial sounds of cicada and rustic flute." Robert Hughes on Provence

I have excessively drunk the house table wine at extended lunches in Provence, and I won't forget them for their savory simplicity and seductive subtext. It was a good year. So a film about a Brit en Provence who loves wine, women, and song can be a winner on concept alone. Max Skinner (Russell Crowe) could skin you alive as a world-class stock trader. As the new owner of on aging estate in Provence, however, he is as likely to be fleeced by local vintners or irritable restaurant owners.

Peter Mayle's popular travel pieces on France turned into a jaunty fiction in A Good Year, an endearing light piece about the intrigues of wine making, estate ownership, and that French staple, love. Screenwriter Mark Klein adapts the novel with a hearty, occasional slapstick I don't remember in the fluffy novel. No matter, the beauty of Provence and its ladies are fully exploited in this romantic comedy.

Because surface romances don't usually lend themselves to deep analysis, I will mention the obvious charms of the film and book my ticket for Provence. The plays of light on the dappled landscape are a treat; the contrast between London's trading activity and the slow-pace of Provence is ever present but not overdone. The nostalgic flashbacks to Max's youth spent with Uncle Henry (Albert Finney) are the highlight for me, a Finney fan. The feisty young Max and crusty, aphoristic uncle compete at tennis, chess, and wine tasting, all appropriate preparation for Max's ruthless career and eventual appreciation of the treasures en Provence.

This is not Cary Grant comedy, but it is a pleasant diversion for those hooked on France and Cezanne, Crowe and Finney.

Saw a advanced screening!

[lonelyguy15 · 7/10 · 18 October 2006]

Yeah totally agree that the plot summary is completed wrong the American woman just wants to know a little history of the place and the previous owner but anyways I saw a advanced screening in Melbourne at the jam factory - won free tickets thanks to me being a member of the Australian film institute- and wasn't excepting much but it was all harmless fun with some funny moments. Its more of a adult type comedy and people below 24 or so will probably not like this movie at all and no one is in danger of winning a Oscar here but its just a laid back movie. Not even in the same league as some of crowe's other movies but I will give 7 out of 10.

Incredible and Uninvolving

[JackCerf · 4/10 · 19 November 2006]

Watching this fantasy of cashing out to live a life of food, wine, sex and sunlit idleness in Provence, you don't suspend disbelief for a minute. Right at the outset we are shown that Russell Crowe's character is exactly what his beloved uncle calls him when he cheats at chess as a boy -- "a little s**t." Now grown up, he enjoys making money by cheating, not so much for the money, though that's nice too, but for the sheer pleasure of dominating others by being smarter, tougher and more ruthless than they are. Since, he's surrounded by agreeably available women in London (the movie tries to make a running joke of flashes and cleavage shots) it is clear that he needn't sleep alone. Nothing Crowe does makes us believe that he is less than perfectly satisfied with the life he leads, or that he would give it up to take up with a Provencal girl and contendedly guzzle home grown wine on the terrace. Nothing convinces that he and she are made for each other, or that she should see him as anything but a good looking rich foreigner who'll be an enjoyable but short-lived roll in the hay. Because Crowe's boss writes him a thumping severance check when he turns down a partnership and leaves the firm, his choice is too easy to be interesting. His buddy the real estate agent has it right. After six months he'll be bored to death, up to his ears in some financial shenanigan, and probably fooling around on his honey just to prove to himself that he can get away with it.

The subplot with the American cousin never gets its feet untangled because the conflict between them over who deserves the property and what to do with it isn't fully developed. She's supposed to be smarter, tougher and more knowledgeable about wine than her youth and good looks indicate, but she doesn't get to do very much with those qualities. Crowe's character can't stand losing. It would have deepened him, and explained his change of life, to have this kid see through him, take him on and beat him at his own game. It would have been a more dramatically satisfying romance to have him try to seduce her, fail, and then fall in love and have to win her. The film hints at those possibilities and immediately backs away.

There's a lot else wrong with the picture. We never feel that Crowe is actually in serious trouble over the financial maneuver that gets him suspended for a week because he never acts like a man who's job is on the line. There are a number of pointless sexual innuendos involving secondary characters that don't go anywhere except, perhaps, the cutting room floor. The rental car foul up is formulaic, not credible and therefore not funny. The smack at a couple of clueless American tourists with Southern accents is smug, gratuitous and irritating. Albert Finney's role of Bacchus as an English gentleman gone native is written by the numbers and phoned in on screen. The flashback structure allows Scott to pull out of the hat whatever rabbits he needs to keep the plot moving, like Crowe's childhood ability to imitate his uncle's handwriting and his one childhood encounter with the woman he falls in love with. That actress, by the way, is too young for a character whom we learn is about the same age as Crowe.

The only really enjoyable performance is Archie Panjabi (who played Parminder Nagra's older sister in Bend It Like Beckham) as Crowe's hip, all knowing secretary. Her work I'd like to see more of.

Bottom line is that this is an unsuccessful variant on the formula High Pressure Guy Finds Self And Love In Laid Back Town. Cars and Doc Hollywood did it better. The Luberon region photographs beautifully, but that's it.

A great little movie

[Sergiodave · 7/10 · 28 August 2022]

Watched this film on Amazon Prime. Not the usual type of movie for Russell Crowe, but definitely one of his better ones. It helps when the movie is directed by Ridley Scott, based on a noel by Peter Mayle and has a supporting cast of Albert Finney, Tom Hollander and the drop dead gorgeous and under-rated actress Marion Cotillard. The essence of the plot is a man deciding what he wants from life, and the enjoyment of the movie is watching him reach that decision. Contains occasional swearing (to be honest I'm a Londoner, so I never notice it) and has no nudity, so I'd call this a family movie. Two thumbs up from me.

An enjoyable film with lovely scenery

[calorne · 7/10 · 4 March 2022]

I enjoyed this film a lot.

It was not a roll about laughing comedy, but there are plenty of chuckles, grins and guffaws to be had. It was also very pleasant to see the lovely vineyard and the grounds of the rustic home together with a slice of French village life.

I did not enjoy the London scenes much, but they were brief and had a role to play in providing contrast.

A little gem

[waltond2 · 7/10 · 24 January 2012]

I really enjoyed this film, a lovely story about how we lose what's important in life when we chase the money. Not an original plot, but one which deserves re-telling and with this cast and script a very worth while addition to the Genre. The comedy moments generally add to the overall film, and whilst its no 'Sideways' nonetheless there are enough bitter-sweet moments to carry the film along. I guess it didn't do too well at the box-office but I suppose that's more of a sad reflection on the conditioning of the cinema going public who are fed on a diet light in dialogue but swamped in violence and CGI. Nevertheless it is beautifully shot and really invokes a sense of memories long hidden in French summers past.

"A Good Year" was a good movie...

[madelisle-2 · 8/10 · 11 November 2006]

I thought the movie was very good... Much better than I expected from the previews.

It's not going to be a Best-Picture Oscar winning movie (I think that should go to "The Departed") but it is not intended to be...

If you need explosions, sex and violence every 10 seconds to keep your attention then no this film is not for you. If you just want a relaxing, well-acted, non-American crappy plot popcorn movie then go check it out.

Well worth the $11 for the ticket which is getting pretty hard to say nowadays...

Actually pretty good!

[ajs-10 · 7/10 · 5 February 2011]

I have never made a secret of the fact that I am a fan of the work of Ridley Scott. So, in the interests of completeness, and although I'm not particularly a fan of romantic comedies, I decided to give this one a try. I was pleasantly surprised; a gentle comedy with a lot of charm and a very appropriate soundtrack is what I found, oh, and quite a few laughs too! But enough of my ramblings, more of that later. Here's a brief summary first (summary haters please help Duflot clean the outdoor pool while I write the next paragraph).

Max Skinner is a tough, uncompromising investment banker in London. In his youth he had spent a lot of time with his uncle, Henry, who owned a vineyard in Provence (France). He had not been in touch with him for the last ten years when he hears of his death. It seems that, as his only surviving relative, Max is to inherit the vineyard. Intending to sell it, he heads out there only to find a lot of memories in his surroundings. The people who work on the estate, Francis Duflot and his wife, Ludivine are fearful that they will no longer be working with the vines. Max agrees that they will be kept on when the sale goes through. In the village, he meets Fanny Chenal, a mysterious, and beautiful young woman who he falls for. And then, out of the blue, a girl, Christie Roberts, claiming to be Uncle Henry's daughter turns up. This adds a bit of spice and has Max afraid that she may have a better claim on the vineyard. Will the wine and the girl soften Max's heart? Well I guess I'll just have to leave you wondering.

A beautifully made film with that great visual style we have come to expect from Ridley Scott. As I said at the beginning, a very appropriate soundtrack, it fits the mood perfectly and enhances the visuals no end. I wasn't sure about Russell Crowe in a romantic comedy, but he pulled it off pretty well. I just wish he could do an English accent. Albert Finney was perfect as Uncle Henry and Marion Cotillard was excellent (as ever) as Fanny Chenal. Honourable mentions go to; Freddie Highmore as Young Max, Abbie Cornish as Christie Roberts, Didier Bourdon as Francis Duflot and Isabelle Candelier as Ludivine Duflot.

A really good script by Marc Klein, based on the novel by Peter Mayle, contains an awful lot of humour and some great one-liners. If I have one gripe, it's that not enough was made of the romance between Max and Fanny. Unlike most rom-coms, their relationship is not the main feature of the plot. It's more about Max finding himself again, which, to a great extent, is achieved using flashbacks to his youth and his time with Uncle Henry. Over all, a very engaging gentle romantic comedy with some great comic moments… Recommended.

My score: 7.3/10

As it's title may imply, "A Good Year" is just that: a good film by Ridley Scott

[saarvardi · 8/10 · 9 November 2006]

I had the chance to see this film during an early press screening in Ramat Gan, Israel, several weeks ago, and was pleasantly surprised. A good friend of mine that came along was thrilled with the views and landscapes and caught up with the dramatic plot, despite having a distinct preference for action flicks. Speaking of which, here's a chance to give a little tip for the guys: although this is generally referred to as a "chick flick", the screen is filled with the presence of 2 beautiful women throughout the film. Watch out for the young Abbie Cornish (who appears in a brief nude sequence, so don't blink) and for the arousing french actress Marion Cotillard as Crowe's love interest throughout the film.

As it's title may imply, "A Good Year" is just that: a good film by Ridley Scott. It's tone reminded me of Scott's Matchstick Men and it's premise is similar to Under the Tuscan Sun. Nonetheless, despite the similarities, Scott managed to create something new and different in this movie, muchly thanks to it's rich plot, vivid characters and breathtaking landscape, that build up an enchanting European atmosphere that allows you to wander off to France for some enjoyable 118 minutes.

The plot follows Maximillian Skinner (Crowe), a young and bright manager in the British stock market that has low morals which bring him high financial results. He's cocky and arrogant, and like all characters that appear in films of this nature, his life is about to change dramatically. This occurs one sunny day when he finds out his Uncle Henry (Albert Finney, who appears in flashbacks throughout the film) has passed away and left him his heritage: a vineyard in Provence, France. Skinner immediately realizes the financial value of the property and boards the first plane to the colorful valley. Arriving there, he is filled with childhood memories through which we see Henry teaching his young oprhan nephew Max (Freddy Highmore, "Charlie and the Chocolate Factory") the values of life. Meanwhile, the plot thickens when a young attractive American girl arrives, claiming she's Henry's long lost daughter and posing a threat to Henry's inheritance. When problems at work force him into a for-longed leaf of absence, he falls in love with a local French woman and starts unveiling the secrets of the vineyard.

I gave it 8 out of 10, for it is a good way to spend a matinée or an evening with your partner.

A Good Movie

[ajaykrishnapriyam · 7/10 · 12 June 2021]

A good year is a good movie. It's not a great one. But it's certainely enjoyable and it does put a smile on you. Yes . It does have some cliche elements . But one can just lay back and enjoy even though it is cliche.

Quality

[boofmunce · 8/10 · 11 November 2006]

I enjoyed this movie, it had class and character with some lovely ladies. Also I enjoyed the London footage with the contrast against France. Crowe, I think did very well and I was surprised at the end because I didn't now it was a Ridley Scott movie. It would now be interesting to read the book to see how closely it is represented. All things seemed to fit, and it was evident in last encounter with Crowe and his French girl from the scene of when he was a boy at the pool. Great romantic portrayal of an English French relationship. The movie also maintained a good level of humour encased with good vocabulary. I had heard this was a good movie and am glad to able to cement that in words.

Aesthetic and Relaxing

[Jini-B · 7/10 · 29 August 2018]

This was a movie that I enjoyed more for the cinematography than the plot. The story itself is a tad cliche and predictable, but the film has been shot in such a beautiful location and there are such pleasing sights all over the film that kept me glued to the screen.

The acting and the story were good. The romance between Crowe and Cotillard was beautiful and they look great together. But the greatest beauty of the film are the sights. Utterly beautiful!

Not bad, but full of clichés

[jeannie-longo · 5/10 · 10 November 2007]

This movie is like a dream. Provence is always under the sun, peasants are poets, and people just have the good life, always drinking wine (without becoming alcoholic nor fat of course) and eating like kings... I forgot, waitresses are like goddess! But, reality check: in France, we have winters, autumn, ugly people... wine making is also a technical job, and even in Provence, we don't live like we are in 1946 !!!! So even if this movie is not so bad, I can assure you that it's full of clichés! I liked the part of the story which was about materialism, and choices you have to make in your life... but this film can't be a great one when it's based on the "cliche" that every french real estate man would like to provide to it's English customers.

But can we expect an privileged urban American to really understand and put into images le "terroir"? Maybe should we be indulgent, thinking that Scott has done it's best and that after all it's not so bad..

The other face of Russel Crowe is VERY FUNNY !!

[zebra782 · 7/10 · 10 November 2007]

I really liked this movie, it was a brand new experience for the due Ridley Scott and Russel Crowe and what a great experience it was.

Ridley Scott was great as usual and we can't expect any thing less than that from such a great director, a very fine job.

However, the surprise was the performance of Russel Crowe, he was FUNNY AS HELL, i couldn't stop laughing from the very beginning till the very end, and this movie is another proof of his talent.

The rest of the cast were great too and the chicks Marion Cotillard, Abbie Cornish and Archie Panjabi were VERY HOT and charming, and that is another point that counts a great deal for the movie.

I think A Good Year is one of the funniest movies of 2006 very refreshing and very funny, two thumbs up.

8/10.