Un buen año

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.

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.

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

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

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.