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.
In twelfth century England, Robin Longstride (Russell Crowe) and his band of marauders confront corruption in a local village and lead an uprising against the crown that will forever alter the balance of world power.
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
Max Skinner's wardrobe is largely influenced by Russell Crowe's own uncle, David William Crowe. See more »
About 6 minutes into the film, after Max makes a killing on the stock market, his colleagues burst into a chorus of 'For he's a jolly good fellow', ending with the line, 'Which nobody can deny.' This is the American version. As the action takes place in London, they should be singing the British version, which ends, 'And so say all of us.' See more »
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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