O Julgamento de Paris

In 1976 the world of wine had mainly just one country on the map: France.

Quietly Californians had been making pretty good wine that no one, especially the French noticed. Until a British gentleman and oenophile, Steven Spurrier (Alan Rickman) made a competition that changed the world of wine forever.

Entertaining, inspiring, shot on location in the Napa Valley and France, this is a delightful movie, with solid acting, beautiful cinematography and all around sparkling goodness.

Although the script has one flaw, it is for the most part very solid and the acting and directing are top notch. Bill Pullman (wine maker), Alan Rickman, and Dennis Farina (delightful American in Paris) deliver solid performances. Relatively new actors Chris Pine (son of wine maker), Rachael Taylor (love interest) and especially Freddy Rodriguez (Mexican wine maker) round up this outstanding cast.

Randall Miller, the director. has to be commended not only for creating an endearing and lovingly original movie, but doing so in a small budget, and even more taking his creation himself to several cities, after no distributor stepped out, even though the movie had rave reviews in Sundance 2008.

The movie has opened in several theaters in North America, Toronto has been fortunate enough to get it, and I hope a major studio changes it's mind and takes this one world wide, but not to worry the director is finding eager movie theaters anyway.

Enjoyable from beginning to end, a true story that deserved a movie, got one! Go watch it.

Joseph Hurtado from Toronto

This past January I had the great joy of going to Sundance '08. In a cluster of some really enjoyable (and some not so enjoyable) films, Bottle Shock really stood out from the rest. Out of all the movies I saw, I can easily say that it was the best. It was really something to see two bigwigs like Alan Rickman and Bill Pullman go toe to toe with each other. To see these two mammoth talents opposite each other is almost reason enough to see the movie, but the great performances don't stop there. Freddy Rodriguez delivers on some very strong and moving parts in the film that literally had tears forming in my eyes (Freddy is one of the best young actors Hollywood has to offer). As someone already commented, Dennis Farina is absolutely priceless. You will fall head over heals in love with Rachael Taylor who carries herself with a classic silver screen charm. And Chris Pine shows why he is destined to be put on the fast track to fame (but don't take my word for it, he is Captain Kirk in the new Star Trek franchise). As a whole, Bottle Shock is simply wonderful. Oh… and not to forget one of the biggest characters in the film, the Napa Valley itself! This movie is so beautifully shot and set that it will take your breath away. This is one you MUST SEE!!

The ensemble dramedy is always a potentially great film, and what it ultimately comes down to is the writing, and whether or not the film is heartfelt enough for its audience to be moved. While Bottle Shock won't be winning any Oscars, it certainly accomplishes the aforementioned goals. In short, the film is very honest, heartfelt, informative, and enjoyable. It will draw its comparisons to 'Sideways' because of the subject matter and some of the characters (Bill Pullman in BS and Paul Giamatti in SW have similar characters), but what sets Bottle Shock apart is that it looks at the wine itself as a character. You care just as much about the wine as you do about the characters.

Bottle Shock may be categorized as a comedy in some listings, but I felt that this isn't right. It's more of a drama than comedy, but it does have its light hearted and funny moments, most of which center around Rickman's British man getting involved in 1970's California culture. The film does a great job of setting up an atmosphere in which we can get lost in, not to mention shows a part of the USA rarely seen. The cinematography and physical landscape of the film is beautiful. It also is smoothly edited.

The acting is always a topic of conversation in this kind of movie, and I found the film to have a lot of subtle and powerful performances, especially from Bill Pullman and Alan Rickman. Pullman's character is quite the specimen. A man who's quit his job as a lawyer (and partner of a firm) to grow grapes, essentially, and is having a hard time watching it fail. I felt that Pullman nailed the nuances and little emotions he needed to. He also had a good dynamic with Chris Pine. The restrained anger was especially well done by the veteran. Alan Rickman gives yet another interesting and intriguing performance in a part that was probably written for him. In the hands of any other actor, the character is bland at best, but Rickman gives Steven Spurrier a certain depth that makes him likable despite his snobbish attitude.

Surprising me with yet another great show after his wonderful performance in 'Bobby', Freddy Rodriguez gets a lot to chew on here. This guy has got to be one of the most underrated and rare talents in the business. I appreciated his Oscar worthy turn in 'Bobby', and he probably gives the most difficult and well done performance after Pullman. Chris Pine is acceptable, but is nothing special. Rachael Taylor has a certain likable charm about her (she has gorgeous hair and eyes), though the fact that her strong British accent slipped into her obviously fake American one a few times bothered me. Dennis Farina and Eliza Dushku are nice additions in smaller parts.

Bottle Shock certainly isn't for everyone. You won't find super huge action sequences or psychotic bad guys here, but you'll find a remarkable character study with a compelling enough story to keep a viewer interested. It is a movie that doesn't require a ton of thought, but some attention is needed. I will give our director and writer some props for keeping the movie going smoothly. It never dragged or was boring. If this one is playing at your local cinema, I advise you to give it a chance.

While some people might immediately try to compare this film to Sideways, that would be a big mistake. Both films might share wine as their subject matter but diverge dramatically from there.

Bottle Shock tells an unknown story of Californian wine beating French wine in a surprise blind taste test (no one was more surprised than the French).

Having the US as the Underdog, seeing the passion of the wine makers and seeing the French being served makes this an absolutely wonderful 2 hours.

Bill Pullman was superb, Alan Rickman portrayed the quintessential snobbish Britt, Rachael Taylor was stunning and Dennis Farina was "Bacon Fat with a hint of Ripe Mellon!"

America; home of the free, over-sized fast-food and trash TV—at least, that's what most Europeans like to comfort themselves in thinking about their distant cousins. So who then would think, that in the 1970's, only two hundred years into the countries recent history, that this very same country would be the forefront of a wine movement that would change the industry as it was known at the time? Quite honestly, nobody did, except of course, those few American "hicks" who knew what they were doing regardless of their history and position within the sophisticated-snob wine culture of France. Bottle Shock then, with it's attempt at re-telling that story alongside plenty of character-play and drama, achieves in doing what it sets out to do by crafting an uplifting, re-affirming two hours balancing debatable fact with fiction. It's an unassuming experience for sure; wine tasting and competition isn't exactly the medium's foray when it comes to delivering attention grabbing excitement from your average audience. Yet when it comes to simply offering a modest, albeit compelling and engaging character story fit with tangible emotion and relativity, Bottle Shock isn't bad at all—in fact, it's really quite palatable indeed.

For all that the general history behind the true story of Bottle Shock, and all that it does for the movie's plot, there still remains a distinct impression here that such involvements are secondary to the elements that are really on show here. Following five characters as they each seek out their place in life, Randall Miller's feature here sticks to the opinion that story can define characters, but that characters define the audience. Taken on a purely ostensible level, Bottle Shock would be a tired, dry and unwelcoming approach to documenting a piece of history fit only for aficionados of the wine trade. Yet by balancing out the script and action with some wonderful character developments and relationships, Miller and his ensemble of writers manage to craft a story that excites and compels by its final act, but only because the first two invest heavily in making you feel for those involved in such a struggle. The result is a slowly paced, somewhat uneven venture, but one that does eventually pay off through its use of catharsis which utilises that empathy to full effect.

Aesthetically speaking, the movie isn't all that bad either, gracing the screen with some wonderfully tranquil photography that constantly evokes wistful, whimsical emotions fit for the existential nature of the screenplay. Alongside the cinematography also lays the somewhat majestic, but grounded score penned by Mark Adler that manages to convey the same feelings provoked by Ozier's photography, creating a formidable, cohesive whole that really brings home the themes of the feature with poignancy.

Unfortunately, the same cannot wholly be said for the performances that at times can come off as a little disjointed and lazy. As a whole, the cast do well to keep things interesting, and bring at least a little flavour to their characters, but a common thread of awkward phrasing and timing too often breaks the illusion that Miller attempts to weave. That being said, the feature at least boasts a fine introduction for many to the talent of Chris Pine who shares the lead spot here with a coming-and-going Bill Pullman. Again, it's a timid performance fitting of the feature's rather small-time nature, but it's certainly an inviting and oft compelling portrayal that works on many levels and even helps bring out the better sides of Pullman who plays his father. As a leading man here, and indeed giving the movie its finest performance next to an ever-arresting Alan Rickman, Pine offers plenty of reason to believe the young actor has a bright future ahead of him.

Despite all the good that the movie does however, there still remains a certain emptiness that resides within Bottle Shock's makeup. It's a feature that uplifts, and engages while it exists on screen, and yet fails to achieve a lasting connection that stays long after the credits have rolled by. In its place exists a fond memory perhaps, but one that probably won't be, and won't need to be revisited again any time soon. In that respect, Bottle Shock achieves a firm hold on its immediate audiences, but differs from its subject by neglecting holes within narrative that would otherwise have filled in lasting impressions upon those very same viewers. Nevertheless, although lacking in a few important areas of taste and refinement, Bottle Shock still permits an enjoyable and rewarding two hours of fine character drama that uplifts and tugs at heart strings.

• A review by Jamie Robert Ward (http://www.invocus.net)