A British investment broker inherits his uncle's chateau and vineyard in Provence, where he spent much of his childhood. He discovers a new laid-back lifestyle as he tries to renovate the estate to be sold.
After years of no contact with his Uncle Henry, London banker and bond trader Max Skinner learns that Henry has died intestate, so Max inherits a château and vineyard in Provence. Max spent part of his childhood there, learning maxims and how to win and lose, and honing his killer instinct (at chess, which serves him well in finance). Max goes to France intent on selling the property. He spends a few days there, getting the property ready to show. Memories, a beautiful woman, and a young American who says she's Henry's illegitimate daughter interrupt his plans. Did Max the boy know things that Max the man has forgotten?Written by
The car that Max Skinner drives is the smart fortwo cabriolet in the pulse trim. The colour is stream green with the black tridion safety cell. See more »
It is constantly suggested that Max works in 30 St. Mary Axe, one of London's best known recent buildings designed by Norman Foster, which has a radial plan with a strong diagonal diagrid frame wrapping the exterior wall. The interior shots of the firm take place inside a standard rectilinear office building with regular columns. (See Basic Instinct 2 for scenes that appear to have been filmed inside 30 St. Mary Axe.) See more »
2 Arabesques: No. 1 Andantino con Moto
Written by Claude Debussy
Performed by Pascal Rogé
Courtesy of Decca Music Group Limited
Under license from Universal Music Enterprises See more »
A Delightful Way to Spend an Evening
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!
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