A Good Year

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.

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.

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.

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

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.