Russell Crowe has many talents, but a gift for light comedy is not one of them.
A Good Year (2006)
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Reviews Counted:37
Fresh:11
Rotten:26
Average Rating:4.9/10
Consensus: A Good Year is a fine example of a top-notch director and actor out of their elements, in a sappy romantic comedy lacking in charm and humor.
Rated: PG-13 [See Full Rating] for language and some sexual content
Runtime: 1 hr 58 mins
Genre: Comedies
Theatrical Release:Nov 10, 2006 Wide
Box Office: $7,365,004
Synopsis: Oscar®-winner Russell Crowe reunites with "Gladiator" director Ridley Scott in A GOOD YEAR, a Fox 2000 Pictures presentation of a Scott Free production. London-based investment expert Max Skinner... Oscar®-winner Russell Crowe reunites with "Gladiator" director Ridley Scott in A GOOD YEAR, a Fox 2000 Pictures presentation of a Scott Free production. London-based investment expert Max Skinner (Crowe) moves to Provence to sell a small vineyard he has inherited from his late uncle. Max reluctantly settles into what ultimately becomes an intoxicating new chapter in his life, as he comes to realize that life is meant to be savored. A GOOD YEAR is based on the best-selling novel of the same name by Peter Mayle. (Mayle and Ridley Scott, who are longtime friends, together came up with the idea for the novel.) Scott produces from a screenplay by Marc Klein. The film also stars the esteemed Albert Finney as Max's late Uncle Henry, who imparts wisdom to his young nephew; Marion Cotillard ("A Very Long Engagement") as a café owner who catches Max's eye; Abbie Cornish ("Sommersault") as Max's supposed long-lost cousin, who may hold the vineyard's title rights; Tom Hollander ("Pirates of the Caribbean: Dead Man's Chest") as his best friend; and Freddie Highmore ("Finding Neverland") as the young Max. Confident and cocky, headstrong and handsome, Max Skinner is a successful London banker who specializes in trading bonds. A financial barracuda on the banks of the Thames, Max devours the competition in his efforts to conquer the European market. His latest conquest has netted a tidy seven-figure profit, much to the chagrin of his Saville Row-draped rivals. Max's triumph is in perfect keeping with his philosophy: winning isn't everything, it's the only thing! Soon thereafter, Max receives word from France alerting him to sad news: his elderly Uncle Henry has passed away. Max, Henry's closest blood relative, is the sole beneficiary of his estate, which includes a Provençal chateau and vineyard, La Siroque, where Henry cultivated grapes for over thirty years. Max travels to the chateau where he spent his boyhood summers vacationing with his eccentric uncle, whom he hasn't seen or written to in years. While Max tends to the legal affairs of his inheritance, he is suspended from his firm, pending an investigation into his questionable bond transaction. With his future in London in flux, Max reluctantly begins settling into life at the chateau. He reunites with the chateau's longtime vigneron, Francis Duflot (still tending the vines after three decades), whom Max remembers from his boyhood visits. Duflot's exuberant wife, Ludivine, the estate's housekeeper, warmly welcomes Max back. Max is uncertain as to whether life in the South of France suits him. He rings up his best friend, London realtor Charlie Willis, to inquire as to what a small chateau and winery like La Siroque would command on the current market. Charlie advises Max that small wineries with a good product can bring several million dollars, as boutique wine, made in small batches, is the rage in wine shops. It's money in the bank for Max should he lose his job. As Max fondly embraces the memories of summers past (spent with a man whose wisdom and philosophy helped Max chart his successful career) while contemplating a cloudy future, a complication arises with the sudden arrival of a determined, twentysomething California girl, Christie Roberts. Christie, a Napa Valley native, claims to be the illegitimate daughter of the deceased uncle. The revelation, if true, makes her Max's cousin and, according to French law, the beneficiary of La Siroque. Suspecting Christie may be a fraud, Max questions her about her past while bickering with her over the fate of the vineyard, whose plonk (as the French define bad wine) rivals the worst vinegar imaginable. Max, who has tasted La Siroque's awful vin de pays, also finds some other bottles in Uncle Henry's cellar bearing the name Le Coin Perdu (‘the lost corner'). This mysterious, legendary vin de garage has fetched thousands per bottle on the black market for years, according to the fetching local cafe owner, Fanny Chenal, with whom Max has become smitten. Where does the wine come from, and why is Duflot so insistent on staying at La Siroque whatever the vineyard's fate? And, what about some unusual vines discovered on the property by Christie, which the crusty vintner claims are experimental in nature, and a renowned oenologue has deemed unworthy? Max's memories and the passage of time bring forth emotions and feelings he thought were long lost, and afford him a new appreciation of his late Uncle Henry's philosophy on life – and on life in Provence: "There's nowhere else in the world where one can keep busy doing so little, yet enjoy it so much!" --© 20th Century Fox [More]
Starring: Russell Crowe, Marion Cotillard, Albert Finney, Freddie Highmore
Starring: Russell Crowe, Marion Cotillard, Albert Finney, Freddie Highmore, Archie Panjabi, Richard Coyle, Tom Hollander, Giannina Facio, Abbie Cornish
Director: Ridley Scott
Director: Ridley Scott
Screenwriter: Marc Klein
Story: Peter Mayle
Studio: Fox 2000 Pictures
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Reviews for A Good Year
Crowe, a superb dramatic actor, is congenitally incapable of humour, especially when he tries slapstick.
Despite some stunning visuals and a lot of nice moments, the finished product feels like the work of an actor and director who are out of their element.
The overall effect is one of a sumptuously laid table where the main course is overcooked.
Close your eyes. And now imagine the whole thing re-cast and shot by Stanley Donen back in, say, 1962, with Cary Grant and Leslie Caron.
A Good Year, an innocuous, feel-good movie that reunites Russell Crowe with the director Ridley Scott, is a three-P movie: pleasant, pretty and predictable. One might add piddling.
A Good Year may not be vintage stuff, but it goes down fairly smoothly.
Like a fragile Provence wine left too long in the sun, Ridley Scott's romantic comedy A Good Year spoiled somewhere between the publication of Peter Mayle's novel and this cockamamie adaptation.
A Good Year builds so much fairy-tale contrivance with such boisterous high spirits that it's exhausting to keep feeling good about feeling good.
A Good Year is a chance for Crowe and his Gladiator director Ridley Scott to slow down and appreciate the good things, like beautiful women, good wine and a country home in France.
The comedy A Good Year provides a good excuse for insisting that actors and directors are better off playing to their strong suits.
Full of pretentious grape-droppings on how wine is like life, only tastier and with a bolder finish, A Good Year is at best elusive to the palate. At worst, it's a bad pressing of a vintage that has no reisling to exist.
A pleasant jaunt through one of the most beautiful places on the planet -- encased in a story that ends up making you feel that all is right with the world.
A shamelessly enjoyable retread, an ode to la belle vie that has been well turned on a factory spindle.
A Good Year feels as if it takes a year to watch, and not a very good year at that.
There isn't a milliliter of honest feeling from start to finish, and precious little comedy or romance.
Russell Crowe may find himself discovering the simple joys of life in A Good Year, but audiences will be checking their watches during this joyless attempt at comedy.
In A Good Year, Crowe gets to make jokes and wisecracks that show off his boyishly mischievous comic timing.
It's no surprise that you can see A Good Year's plot twists and clunker of an ending from a mile away.
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