Movie Review: A Good Year

A Good Year

Directed by Ridley Scott

Twentieth Century Fox

3 1/2 stars



Wine, romance, nostalgia, and competition… No, the new Russell Crowe vehicle is not a retelling of a college career, but rather the story of a businessman who embarks on a journey to discover himself. Sure, it’s hackneyed, but director Ridley Scott’s “A Good Year” still manages to entertain.

The film’s plot line is familiar, and holds very few twists. Included within is the traditional “boy meets girl, girl changes boy” formula along with the rather tired “city-boy leaves city, falls in love with country, understands error of former city-boy ways” trope.

Despite his reliance on over-used plot structures, Scott presents a film that both charms and captivates the audience. Some credit is due to Peter Mayle, who wrote the source material, a best-selling novel of the same name. However, the change of setting from the United States to Europe adds nuance to the plot and updates what is otherwise essentially a rerun.

The noirishly-named Max Skinner (Crowe) is a shrewd London banker who revels in conquering his competition through ruthless and unethical means. He’s also a stubborn misogynist, adding to our contempt.

Upon the death of his uncle (Albert Finney), he inherits a château in France. Cue beautiful sunsets and rememberances of childhood.

The movie alternates between flashbacks and the present day to establish how gentler moments of Skinner’s childhood influenced him. Romance enters the film when Skinner becomes reacquainted with the French countryside, his neighbors, and a hard-hearted local girl named Fanny.

The flashbacks focus on the moments that young Max (Freddie Highmore) spent at his Uncle Henry’s house. Finney captures all the subtleties of the character, and plays Uncle Henry loveably.

Also remarkable is Archie Panjabi, who plays Max’s secretary, Gemma. Panjabi takes the sexy-secretary stock character to a new level by keeping the business in the office, but still showing the potential for a relationship that can exist between a secretary and her boss.

The various love stories are also well-structured and integrated into the film’s fundamental plot line. The main romance between Max and Fanny propels the movie by helping to initiate the change that occurs in Max. Even sweeter throughout the film are the love stories revolving around the more minor characters, both romantic and platonic.

In typical form, Ridley Scott hired stunning cameramen and chose gorgeous locations. The cinematography is stunning—particularly the landscape shots—and is definitely best appreciated on the big screen.

Bottom Line: “A Good Year” may not be the best of the vintage, but it’s worth a taste.