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Movie Review | 'A Good Year'

Stopping to Smell the Vintner’s Bouquet

By Stephen Holden

Nov. 10, 2006

“A Good Year,” an innocuous, feel-good movie that reunites Russell Crowe with the director Ridley Scott, is a far cry from the triumphant metallic stomp of “Gladiator,” their previous collaboration. A sun-dappled romantic diversion, which one British critic has already dismissed as “tourist gastro-porn,” “A Good Year” is a three-P movie: pleasant, pretty and predictable. One might add piddling.

If nothing else, this celebration of French food and wine, adapted from Peter Mayle’s 2004 novel, will whet an appetite for consuming “the nectar that is incapable of lying,” as the film’s dissipated philosopher of epicurean delights calls the product of his estate in Provence. Viewers are advised to make a reservation at an upscale French restaurant immediately after seeing the film or risk going home feeling deprived.

For Mr. Crowe, whose public image took a hit last year when he threw a telephone at a desk clerk in a New York hotel and later pleaded guilty to assault, “A Good Year” looks like a calculated charm offensive by an actor not known for his courtly manners. His character, Max Skinner, a ferociously aggressive London bond trader who inherits a small vineyard from his Uncle Henry (Albert Finney) and quickly mellows into a rich, happy, bon vivant, is the sort of role usually taken by Hugh Grant.

Mr. Crowe, estimable actor that he is, gives what may be his cheeriest screen performance. But is he charming? Let’s just say that both Grants (Hugh and the ghost of Cary) can rest comfortably. Mr. Crowe is not unlikable. But as for visceral charm, there are only flashes here and there.

For Mr. Scott “A Good Year” is one of his periodic palate cleansers. Amid his outpouring of would-be blockbusters — “Gladiator,” “Hannibal,” “Black Hawk Down” and “Kingdom of Heaven” — all released since 2000, only one other film, “Matchstick Men,” qualifies as a breather from a schedule that suggests the directorial equivalent of training for a heavyweight bout.

The blandness of “A Good Year” isn’t the fault of Mr. Scott, who pumps the film full of visual energy and gorgeous scenery, but of its screenwriter, Marc Klein (“Serendipity”). You keep waiting for some witty banter, but except for scattered remarks and Max’s slapstick tumble into an empty swimming pool, there isn’t much comedy.

The inevitable romance, when it arrives in the person of a French bistro owner, Fanny (Marion Cotillard), whom he covets at first sight, is a half-baked affair in which her chilly resistance thaws faster than ice cream in a microwave.

The movie begins, in its own coy language, “a few vintages ago” with a scene of Max as a boy (Freddie Highmore) frolicking on the estate of his snobbish, bibulous uncle. As this old man dispenses sartorial advice to his nephew, the cocky wunderkind beats him at chess. The story then shoots ahead “many vintages later” to catch the grown-up Max, now a preening Master of the Universe, as he spits fire in his London brokerage house and leads his “lab rats,” as he calls his troops, in an unscrupulous maneuver that nets his company tens of millions of dollars.

Word arrives that Max’s once-beloved Uncle Henry, with whom he lost touch years earlier, has died, leaving no will. As his uncle’s closest surviving relative, Max stands to inherit the estate, La Siroque, which he visits, determined to make a quick sale based on the advice of his best friend, Charlie Willis (Tom Hollander), a London real-estate agent. But once he arrives in France where the sun is brighter, the grapes tastier and the women more pliable, ooh la la! Before the property can be sold, it needs repairs, especially the tennis court, and he lingers there and begins to rediscover the simple pleasures of those halcyon childhood summers.

But even in paradise Max is prickly and insensitive. He repeatedly tramples on the feelings of his uncle’s winemaker (Didier Bourdon) and shouts “Lance Armstrong!” while driving past a group of French cyclists. Nice guy.

Out of the blue a young woman from California, Christie Roberts (Abbie Cornish), shows up and announces she is Uncle Henry’s illegitimate daughter. If her claim is true, she, not Max, would get La Siroque, whose value suddenly diminishes after a wine-growing expert tests the vines and pronounces restoration of the vineyard to its former glory impossible.

With two pretty women lurking around the premises, you might expect a rivalry to develop, but the movie barely considers the possibility. Failing that, you might expect Max and Christie to wage a cutthroat battle for ownership of the estate. But Christie, an oenophile from Napa Valley, is primarily interested in knowing more about her father. Ms. Cornish (the young Australian actress who was so gripping in “Somersault”) exudes a palpable discomfort in her confusing, underwritten role.

“A Good Year” is the movie equivalent of poring over a glossy brochure for a luxury vacation you could never afford while a roughneck salesman (Mr. Crowe) who imagines he has class harangues you to hurry up and make a decision about taking the tour. My advice is to resist the pitch.

The movie is rated PG-13 (Parents strongly cautioned). It has some strong language and one mild sex scene.

A GOOD YEAR

Opens today nationwide.

Directed by Ridley Scott; written by Marc Klein, based on the novel by Peter Mayle; director of photography, Philippe Le Sourd; edited by Dody Dorn; music by Marc Streitenfeld; production designer, Sonja Klaus; produced by Mr. Scott; released by Fox 2000 Pictures. Running time: 117 minutes.

WITH: Russell Crowe (Max Skinner), Albert Finney (Uncle Henry), Marion Cotillard (Fanny), Abbie Cornish (Christie Roberts), Tom Hollander (Charlie Willis), Freddie Highmore (Young Max) and Didier Bourdon (Francis Duflot).

Cast & crew
User reviews

A Good Year

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 es... Read all 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. 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.

Ridley Scott
Peter Mayle
Russell Crowe
Abbie Cornish
Albert Finney
271 User reviews
145 Critic reviews
47 Metascore
1 win & 2 nominations

Top cast 64

Max Skinner

Christie Roberts

Uncle Henry

Fanny Chenal

20-Something Beauty

Bert the Doorman

Newscaster #1
Newscaster #2

Maitre D'

Charlie Willis
Rental Car Employee

Gemma's Friend
All cast & crew
Production, box office & more at IMDbPro

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Did you know

Trivia According to director/producer Sir Ridley Scott , every scene of the film (except the London scenes) was shot within eight minutes of his home in Provence, where he has been living for 15 years.
Goofs When Max is playing tennis at La Siroque, the sound that the tennis racquets make does not correspond with the type of old racquets they have. The sound is from a modern tennis racquet.

Uncle Henry Skinner : You'll come to see that a man learns nothing from winning. The act of losing, however, can elicit great wisdom. Not least of which is, uh... how much more enjoyable it is to win. It's inevitable to lose now and again. The trick is not to make a habit of it.

Connections Featured in Friday Night with Jonathan Ross: Episode #11.6 (2006)
Soundtracks Lounge Lizard Written and Performed by Joe Lervold Courtesy of Marc Ferrari / Mastersource

User reviews 271

lastliberal
Mar 24, 2008
Does anyone know what exact model his orange/brown glasses are? Thanks!
What does the Fanny say to Max at the pool?
Is it true that lavender keeps scorpions away?
November 10, 2006 (United States)
United States
United Kingdom
Stream A Good Year officially on Disney+ Hotstar Indonesia
Mùa Tình Yêu
Chateau la Canorgue, Bonnieux, Vaucluse, France (Chateau La Siroque)
Fox 2000 Pictures
Scott Free Productions
Ingenious Film Partners
See more company credits at IMDbPro
$35,000,000 (estimated)
Nov 12, 2006
$42,269,923

Technical specs

Runtime 1 hour 57 minutes
Dolby Digital

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A Good Year Reviews

A Good Year is a light snack of comfort-food cinema and Scott’s only comedy— not that there are a huge amount of laughs.

Full Review | Apr 23, 2024

It's a film from which you'd expect the moon, the stars and the sun. What with an actor like Crowe and a director like Scott. Disappointingly, the talented duo gives you the most wishy-washy film of the year.

Full Review | Original Score: 1/4 | Jan 23, 2019

It's not so much A Good Year as A Good Yawn (if not A Full-on Nap).

Full Review | Aug 22, 2018

Full Review | Original Score: 6/10 | Feb 9, 2011

Predictable but pleasant movie for teens and up.

Full Review | Original Score: 3/5 | Jan 1, 2011

Russell Crowe brings to bear his now-familiar acting tics in a not-so-tender romance by director Ridley Scott.

Full Review | Original Score: C- | Apr 24, 2009

[Russel Crowe's] supply of quips and pratfalls is inexhaustible, even when he's trapped at the bottom of a swimming pool surrounded by peat and dry leaves. Alas, he escapes.

Full Review | Original Score: 2/5 | Jun 8, 2008

Under the Tuscan Sun for men

Full Review | Original Score: 2.5/5 | Mar 22, 2007

Forget that this is a film about a man's epiphany about what's important in life, and enjoy it for its lighthearted moments, slapstick comedy, but most of all its divine locations.

Full Review | Original Score: 3/5 | Dec 30, 2006

Full Review | Original Score: 2/5 | Dec 30, 2006

Crowe has located his funnybone again in a conventional but engaging romantic comedy ...

Full Review | Original Score: 2.5/4 | Dec 7, 2006

This Gallic tourist-porn feels as stale as yesterday's baguette.

Full Review | Dec 1, 2006

'Look Homeward, Gladiator' hints at new dimensions of warmth and heart in Russell Crowe and Ridley Scott. They're not there yet, but they're headed in the right direction.

Full Review | Original Score: 2.5/4 | Nov 24, 2006

A Good Year is, structurally, nothing more than a rickety assembly of the creakiest cinematic clichés.

Full Review | Nov 20, 2006

Ultimately, though, the odd witty line and scads of eye candy can’t compensate for a lack of dramatic dynamism or a cast that just isn’t very funny.

Full Review | Nov 18, 2006

It's so goddamned cute you almost want to puke, but you don't. This is the most charming movie of the year, and it comes within an inch of being too sweet to stand, but it doesn't get there.

Full Review | Original Score: 4/5 | Nov 18, 2006

Does not translate into a good film.

Full Review | Original Score: C | Nov 16, 2006

The course A Good Year takes feels like it's on rails: there's only one possible destination and only one way to get there.

Full Review | Original Score: 2.5/4 | Nov 15, 2006

Scott's film is like a reproduction of things he's seen in romantic comedies over the years with no idea why they're there.

Full Review | Original Score: 2.5/5 | Nov 15, 2006

Alternately, you could do your laundry, which would be just as exciting and possibly more dramatic.

Full Review | Original Score: C- | Nov 15, 2006

A Good Year (2006): Film Review

Christopher Connor
November 11, 2023

Ridley Scott’s A Good Year is an underappreciated gem that shows us a different side to both the celebrated director and lead star Russell Crowe.

Ridley Scott and Russell Crowe’s partnership in the 2000s proved to be hugely successful, beginning with a Best Picture and Actor win for Gladiator and featuring the well-received American Gangster in 2007. In between these two more successful collaborations sits A Good Year , an adaptation of Peter Mayle’s 2004 novel , written for Scott. The pair were neighbours in Southern France at the time, with Scott desiring to make a fish out of water film featuring an Englishman in Provence.

A Good Year marks a departure from other Scott films , particularly of the era, coming off the back of epics like Gladiator and Kingdom of Heaven. It is one of the lighter films in his filmography, more of a straight-up comedy, something not really glimpsed again outside of The Martian ’s lighter moments. The shift in genre might account for some of the reviews for the film upon release, with it being one of the poorest-rated films in Scott’s recent filmography.

Max Skinner (Russell Crowe) is a hugely successful yet egotistical banker in the City of London who inherited his Uncle Henry’s (Albert Finney) estate in Provence. Max spent his summers there as a child, with fond memories of his doting, eccentric uncle . In recent years, however, the pair drifted apart, with the world of his uncle a far cry from the glamorous, affluent surroundings of Max’s London lifestyle. Max is initially keen to be rid of the estate as soon as possible, seeking to sell it for a handsome price.

While Max waits for the estate to be valued, including its Vineyard, he becomes smitten with the region and the local culture, and this brings back childhood memories that he has repressed. The second half of the film sees a blossoming romance between Max and the uptight and fiery Fanny Chenal (Marion Cotillard); after a series of confrontational encounters culminating with Max at the bottom of his pool, they become close.

loud and clear reviews A Good Year film movie

Crowe and Cotillard’s chemistry does a lot of heavy lifting. The pair are a charming onscreen couple. Crowe captures Max’s initial frosty and world-weary nature and makes his ultimate warming and shift in character believable. Finney’s Uncle Henry, who appears via flashbacks, is charming and larger than life, the antithesis of the Max we meet earlier in the film. Tom Hollander is ever dependable as Max’s best friend Charlie who is tasked with valuing the estate and also becomes charmed by the locale.

One of the frequent critiques surrounded Russell Crowe’s comedic timing , in the years since we’ve seen him go on to have success with the likes of The Nice Guys , certainly proving his aptitude for comedic material. If Crowe isn’t as naturally funny as in The Nice Guys , his comedic timing is far from atrocious, helping keep the film together, enfusing it with a natural lightness of touch.

Perhaps one of the film’s drawbacks is the number of subplots , especially once Abbie Cornish’s Christie Roberts arrives on the scene. Christie is a self-described “wine brat” from California who claims to be Henry’s illegitimate daughter and so may have a claim to the estate. On top of this, we have a subplot involving the quality of the wine produced at the vineyard and a secret much nicer vintage made on the estate. While none of these derails the film they do cloud its focus at times, when it may have been easier to focus solely on Max and devote greater attention to his relationship with Fanny.

If still not one of Ridley Scott’s best-loved films, A Good Year justifies a re-evaluation . It is a charming romantic comedy that makes the most of its Provence setting with a fun comedic performance from Russell Crowe and a sense of charm and ease throughout. It is certainly one of the more light and sweeter films in Scott’s oeuvre, but this should not detract from its warmth and fun. Far from a total misfire, this is an under sung and rewarding film with plenty to admire.

A Good Year is now available to watch on digital and on demand.

TAGS: Ridley Scott
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DVD & Streaming

A Good Year

Comedy , Drama , Romance

Content Caution

In Theaters

Russell Crowe as Max Skinner; Albert Finney as Uncle Henry; Freddie Highmore as Young Max; Marion Cotillard as Fanny Chenal; Abbie Cornish as Christie Roberts

Home Release Date

Ridley Scott

Distributor

20th Century Fox

Movie Review

Ethically challenged business gladiator Max Skinner is enjoying the London high life. After all, he’s just led his company’s team of bond traders through a masterful—and legally questionable—financial maneuver that nets his firm millions of dollars. His real friends are few, but he luxuriates in the jealousy of this rivals and the adoration of his underlings. Then he learns that his Uncle Henry, his only living relative, has died at the French chateau and winery where he’s lived for 30 years.

In a series of halcyon flashbacks, we watch a 12-or-so-year-old version of Max spending time with Uncle Henry at the chateau during long visits after the death of Max’s parents. Though he drifted away from the warm and worldly Henry over the years in his quest for financial domination, Max remembers his times at the small winery as the best of his life. Returning now, however, to claim the estate, Max announces his plans to sell the charming place, especially when he realizes the quality of the wine has devolved to the level of vinegar.

At first unmoved by the objections of vine-tender Francis Duflot and his gregarious wife/housekeeper Ludivine—the couple who also cared for the place when Max was a boy—Max speeds his efforts to unload the property when a young woman from America shows up claiming to be Henry’s illegitimate daughter (and possible legal heir). But then Max’s fond memories of his quotable, “good life”-loving Uncle Henry and his newfound affection for a local beauty slowly begin to erode his resolve to leave the Provencal lifestyle behind.

Positive Elements

The film reveals Max’s tendency to cheat his way to success as both unethical and ultimately unsatisfying (though he experiences few actual negative consequences). We learn that Uncle Henry became disappointed in Max’s fixation on making money and winning at all costs. In a flashback, Henry encourages young Max to celebrate his failures as a source of wisdom and to learn to enjoy the simple pleasures of life. Max eventually sees the value in that advice.

Sexual Content

Part of Max’s big-city lifestyle includes bedding beautiful women. And he questions whether it would be wrong to have sex with Christie, 19, his newfound cousin. A nude woman is very briefly glimpsed in a porn magazine. And many of the film’s females bare cleavage.

When Christie wears a small bikini by the pool and gets a bad sunburn, she allows Max’s eager best friend, Charlie, to treat her by applying ice to her bare back. The camera follows his gaze under her towel as the top of her rear is seen.

At a dinner party, a crude joke is made about sodomy. Max is attracted to local girl Fanny, who lifts her skirt in public to show him a large bruise on her hip and backside. Upon seeing this display, male bystanders applaud. Max and Fanny end up going to bed together. (They partially undress each other.)

Violent Content

In search of comedy, A Good Year includes plenty of pratfalls, mishaps and accidents as Max falls over, through and down various props and bits of landscape. In his car he unknowingly runs a woman on a bicycle off the road while fumbling with his phone. He also falls into a swimming pool, empty expect for manure, and is pummeled by jets of water unleashed to fill it up.

Crude or Profane Language

In addition to a few misuses of the names “Jesus,” “Christ” and “God,” the f-word is heard at least once and the s-word is exclaimed better than a dozen times. The British profanities “bloody,” “b-gger,” “w-nker,” “s-d” and “b-llocks” are heard, as is the sexual euphemism “shag.” “B–tard” and “a–” are also casually tossed around.

Drug and Alcohol Content

Most of the story unfolds at a French winery, and all of the characters drink. In flashbacks, Uncle Henry is seen drinking lots of wine and is known to get drunk. He schools young Max in the ways of winemaking and gives him wine to drink (though he waters it down a little). Older Max regularly drinks harder stuff. At a dinner party, several of the attendees get drunk, including one who can’t quite walk home. Pipes and cigars make appearances.

Other Negative Elements

Max, young and old, is a liar and a cheat. As mentioned in “Positive Elements,” that’s mostly cast in a negative light. However, he is seemingly rewarded for his biggest ethical compromise. And even when he chooses to do something noble for his cousin, he needlessly uses deception to accomplish it.

While watching A Good Year , I was reminded just how skillful director Ridley Scott is at crafting heart-pounding action/adventure tales and how adept star Russell Crowe is at creating unforgettably intense and complicated characters. By their bodies of work (which include Kingdom of Heaven, A Beautiful Mind, Gladiator, Black Hawk Down, and Hannibal ), neither strikes you as the kind of a guy who enjoys a lightweight, heartfelt, slapstick-infused romantic comedy. And judging from this effort, they’re not the kind of guys who can make a very good one.

At every moment, you can feel them laboring to create a breezy atmosphere to match the languid beauty of their Provence backdrop. But they just don’t seem to have it in them. Crowe, especially, can’t convincingly dim that famous intensity. His attempts at being a charming, clumsy rascal feel like those of a workaholic dad spending a day off with the kids. Yeah, he’s here goofing around with us, but you can tell his heart is still back at the office emoting about something dark and weighty.

It’s not just Crowe. The storyline is as predictable as a commuter flight on a clear night; you can see that landing strip coming for miles and miles. Moments of dialogue meant to convey profound meaning clunk so loudly I worried folks in the theater next door would be distracted from their film. Then I wondered what they were watching. Then I wanted to go and see.

Thus, I began pondering what A Good Year might have looked like as a straightforward drama about a man forced to reevaluate all his morality-free, self-serving instincts and the life of singular isolation they’ve yielded for him. Throw in one pivotal, rain-soaked action scene, and that’s a movie the Scott/Crowe team could make compelling.

Instead, for the sake of lightheartedness, they lower the stakes to the point where it’s tough to care what choices Crowe’s character makes. The isolated, achievement-driven London high life or the more relational, sensual French country life? Either way, it’s all about what will make Max most happy. Neither choice requires real sacrifice. And that’s the story’s biggest problem. It wants us to see the good life as the one spent soaking up pleasure and community and beauty. Better, maybe, but in the end just a different brand of hedonism apart from selfless service of others.

Will Max ever go searching for deeper meaning outside of himself or will he just repeat his Uncle Henry’s equally empty (though more attractive) life of wine, women and song? Maybe Crowe and Scott can answer that question in an action/adventure sequel.

Christopher Lyon

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A Good Year Review

27 Oct 2006

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A Good Year

Ridley Scott and Russell Crowe must love the fact that their first collaboration since Gladiator couldn’t be less similar to the sword ’n’ sandal epic that revived the former’s A-list career and launched the latter’s. “They didn’t expect us to do this ,” you can almost hear them chortling. Well, there are some similarities: in both films, Russell Crowe owns a vineyard, in both he’s called Max (sort of) and, uh, that’s it. A Good Year is an entirely different bottle of plonk: rosé rather than claret, if you want to stretch a metaphor.

But while it’s all well and good to see them together again, the material doesn’t prove a fit for either. Crowe’s not attempted comedy since the disastrous Mystery, Alaska and Scott’s only previous tussle with the genre was the uneven Matchstick Men (unless you count Hannibal). The problem’s not so much that A Good Year is a comedy per se; rather that it’s one of those very gentle, breezy little comedies — you know, the kind your mum likes to watch after the Sunday roast — which require a light touch, a feel for the flippant and, ideally, an undercurrent of self-knowing absurdity to make them truly appealing. None of this is evident in either Crowe’s performance or Scott’s direction. There’s a forced jauntiness, a sense of careful calculation whizzing away behind the comedy beats, from Crowe’s intense pratfalls as Max tries to escape a derelict swimming pool, to his plummy exclamations of “bollocks” at every available opportunity.

Quite simply, Crowe and Scott are just too heavyweight. There is some novelty value in seeing Crowe squeezing his burly frame into the kind of role usually reserved for Hugh Grant or Colin Firth, but it soon wears off. The film does at least look great — who better than Scott to shoot the dusty villages and sun-snogged vistas of Bouche-du-Rhône? — and works best in its more sombre moments, as Max’s deeply buried, Freddie Highmore-shaped soul is exhumed via a series of oddly-timed flashbacks.

That A Good Year’s attempts at humour fall flat is also the fault of the script: there’s not a single good gag in here. Max’s smarmy quips, his rosbif-versus-frog sparring with shifty vintner Roussel (Didier Bourdon), the daffy maid who’s forever a breath away from squealing, “Ooh la la!”… It’s all rather flimsy, obvious stuff — these are cultural references that you need to blow the dust off. If you want a decent midlife-crisis wine comedy, stick with Sideways.

Movies | 23 08 2006

Movies | 28 07 2005

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A Good Year (2006)

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!"

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A Good Year (2006): A Romantically Flawed, Predictably Feelgood Film

Film review: a good year (2006).

A Good Year is a British-American dramedy with a good side of romance, produced and directed by Ridley Scott. Russell Crowe stars alongside Albert Finney, Freddie Highmore, Tom Hollander, Abbie Cornish and Marion Cotillard. Indeed, A Good Year has a very good cast.

Set in southern France, in Provence, A Good Year is loosely based on the novel of the same name by Peter Mayle, a neighbour and good friend of the above-mentioned Ridley Scott. Indeed, it was discussions between these two that led to Mayle’s book, which then led to Scott’s film adaptation.

Although billed as a rom-com, A Good Year is truly more of a journey of self-discovery for a man who has lost his way. Max Skinner (Russell Crowe) is a no-holds-barred, sardonic stockbroker who has long forgotten the joyous, little boy he once was. But when forced to return to his childhood haunts in southern France, memories of his boyish self (Freddie Highmore) and the lessons learned from his dearly departed uncle (Albert Finney) begin to surface. Max begins to reevaluate his life and its current trajectory.

When the Boy Becomes the Pirate

There’s a line from the movie Hook , delivered by the always wonderful Dame Maggie Smith, who’s playing the Wendy who grew up, where she looks at the greedy, preoccupied man Peter Pan has become and says, “So, Peter, you’ve become a pirate.” The essence of that line, of childhood innocence lost and grown-up cynicism found, is the essence of A Good Year . The Peter Pan-like joie de vivre of Max Skinner the boy has been replaced with sardonic cynicism and egoism of Max Skinner the man.

The only heir to his estranged uncle’s estate, Max Skinner returns to his uncle’s chateau and vineyard in Provence after many, many years of absence. He’s there to wrap things up as soon as possible, sell the estate, and get back to London and his high-flying career. Max is dashing, arrogant, wickedly witty, superficial in many ways. And yes, he’s an incredibly charming jerk – a real rogue.

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But the quick stay in Provence suddenly gets prolonged, after Max is suspended for some dubious stock market manipulations. And after the stipulations of the will are a bit more complicated than first thought, especially when a young, American woman (Abbie Cornish) suddenly shows up on the chateau doorstep, saying that Uncle Henry is her dad. And after a certain feisty French café owner (Marion Cotillard) catches the eye of one lonely British stockbroker.

Truly, Max is lonely. That is becoming increasingly clear. The cynicism, the sardonic wit, the sleazy charm is all a front. And the longer he stays in his uncle’s home, the more he remembers the dreaming, wondering boy, he once was. The more he begins to regret his estrangement from the only man who ever truly loved him, his dear uncle. And the more he begins to become his uncle.

In one of the film’s running gags, Max has literally no clothes with him when he came for his quick stopover. So, when the stopover gets prolonged, he finds himself having to raid his uncle’s wardrobe. The designer suits are swapped for ill-fitting old man slacks and sweater vests. It’s an enjoyable transformation, which Max takes in good stride and humor.

And yes, it’s all leading up to a man making a decision about his life, what he wants out of it, and what will make him truly happy in the long run. Can the boy and the man reconcile?

Feelgood Redeemable

There’s a lot to recommend A Good Year . It’s beautifully filmed. Southern France has never been lovelier. The acting is first rate and the chemistry between the cast is palpable. There is so much to dislike about Max Skinner, but you find yourself being charmed by him anyhow. And that says something about Russell Crowe’s portrayal. Max is ultimately a redeemable rogue.

A Good Year is a feelgood film that hits many of the predictable and expected and necessary feelgood points. Where it disappoints though is in the romance department. The romance is too pat, too rushed. I mean, she’s in bed with him lickety-split and he’s not that charming. So, there’s a kind of routinized falseness to that aspect of the story. And it’s this romantic failing which probably aided and abetted the movie’s flopping at the box office. It was and is incorrectly categorized and billed as a romantic comedy. It is not a romantic comedy.

But just because the romance isn’t quite there, it does not mean that A Good Year isn’t worth watching, isn’t redeemable. It is. It’s saccharine and predictable and funny. And did I mention I am a total sucker for tales about grown-ups reconnecting with their inner childhood selves? A Good Year may be romantically flawed, but it does redeem itself in the feelgood department.

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Where to Watch: Rent and/or buy on Digital/DVD.

Content Note: Rated PG-13 for language and some sexual content. Swearing in British accents always sounds cute to my ears, but yes, there are more than a few cuss words in the film. Max Skinner is an arrogant cad. There are sexual innuendos. Again, Max Skinner is an arrogant cad. No skin. One brief sex scene, where nothing much is seen.

Have you seen A Good Year ? What are your thoughts on this movie? Let me know in the comments .

Photo Credit: 20 th Century Fox.

OVERALL RATING

“I think this is the beginning of a beautiful

friendship.”

ROMANCE RATING

“Happiness in marriage is entirely a

matter of chance.”

ARE YOU A ROMANCE FAN? FOLLOW THE SILVER PETTICOAT REVIEW:

A lover of words, stories and storytellers since her youth and just plain curious by nature, Jessica embarked on a very long academic journey that took her across a continent (from Canada's west coast to its east) and even to the other side of the globe, where she currently lives an expat existence in Denmark. She now trails many fancy initials behind her name, if she ever cares to use them, and continues to be ever so curious. She's a folklorist, a mother, a wife, a middle child, a small town girl, a beekeeper, an occasional quilter, a jam-maker. She curates museum exhibits, gets involved in many cultural projects for this and that, collects oral histories when she can find the time and continues to love stories in all their many and varied forms. The local librarians all know her by name.

A Good Year

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Review: a good year.

The film suggests not so much the stirring of a soul as Sir Ridley grinding his teeth behind the camera.

You know ruthless bond-trader and self-described “asshole” Max Skinner (Russell Crowe) is due for a reminder of life’s simpler pleasures as soon as the steely grays of his London office are contrasted with the honeyed amber of the rural French chateau where he grew up. Such visual obviousness is indicative of the overall laziness of A Good Year , Ridley Scott’s insipid adaptation of Peter Mayle’s novel, filmed apparently for no better reason than to provide cast and crew (but not viewers) with a lush vacation.

Perfectly happy running the “lab rat” co-workers at the office or just reveling in his own smarmy unscrupulousness, Max is summoned to the idyllic cottage of his youth by the death of Uncle Henry (Albert Finney), the once-beloved-but-now-forgotten mentor who, remembered in flashbacks, taught young Max (Freddie Highmore) about life, women, and the “sublime nectar” of wine. Max’s plan is to sell the home and its vineyard pronto so he can go back to screwing rival traders out of millions, but those darn plot contrivances ground him for one week, just enough time for the postcard Frenchness of the provincials to seduce him.

Gallic earthiness is embodied by a shrugging groundskeeper (Didier Bourdon) with a sloppy cap and a pup called Tati, a bubbly housekeeper (Isabelle Candelier) who can’t stop grabbing Max’s ass, and a waitress (Marion Cotillard) with Spunky Love Interest etched on her forehead. The potentially heritage-usurping arrival of a distant Yankee cousin (Abbie Cornish) barely registers in the dramatic radar, since by then the protagonist has already learned to grow a heart, money can’t compete with the forces of nature, it’s the little things in life that matter, yada, yada, yada.

Always a dexterous polisher of surfaces, Scott would seem an appropriate choice to capture touristic images, yet the antic restlessness of the mise-en-scène denies audiences the simple pleasure of looking at the vistas: The high-pressure cutting exposes the filmmaker’s roots in advertising so patently that, when two characters identify themselves by humorously flashing their clothing brands, the wan jest nearly becomes a declaration of guilt. Leaden in its traveloguing, A Good Year suggests not so much the stirring of a soul as Sir Ridley grinding his teeth behind the camera, grimly muttering “I’m going to be breezy if it kills me, goddamit!”

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Film review: A Good Year

They say never to work with children or animals. To which we can now add another subset. Friends.

Ridley Scott, the decorated film director, and Peter Mayle, the best-selling author, are two such friends who came up with an idea for a working project over a couple of bottles of wine in Provence one summer. Both are residents there (Mayle full-time, Scott in the form of a holiday home and vineyard) and both like wine.

‘For years Ridley had wanted to shoot a film here because he’s got a house here and he loves the look of the countryside,’ says Mayle. ‘He was also interested in doing a story about wine, because he has a little vineyard here.’

Scott persuaded Mayle to write a vinous romp based in Provence which he would then put on the big screen. Like most ideas hatched after a couple of drinks, it turned out to sound good in theory, look okay on paper (Mayle’s book) but is an absolute dog on celluloid.

To be fair, Mayle kept his side of the bargain. The book, though not a Pulitzer Prize winner, is an entertaining, mildly engaging page-turner. The plot is simple – a successful but flawed City banker starts a new life after inheriting a rundown, under-performing vineyard in Provence. There he finds love and laughter while trying to revive the plot’s fortunes against local opposition and a backdrop of suspicious trading within the murky world of wine. It’s a fun, if fairly implausible read (unscrupulous négoces buying his wine and selling it on at vast prices to unsuspecting Asian buyers under the guise of a garage Bordeaux).

In Scott’s hands, this becomes a string of simple stereotypes – none more than Max (Crowe) the ballsy banker suspended after conducting a dodgy deal.

Immediately, Crowe’s character is the antithesis of the charming, likeable rogue, unjustly sacked, in the book – instead, trudging off to Provence to begrudgingly take up his inheritance, we’re willing him to fail. (And why would you have a New Zealander playing a London banker? For the same reason you have an Aussie playing his long-lost California cousin – who turns up in Provence to claim her inheritance – I guess.)

Before that, Max meets a few more off-the-shelf stereotypes – a charming, sassy cafe owner, a straight-talking, peasant vigneron… It goes downhill from there, with the vinous intrigue reduced to levels as predictable as the love story. The château’s wine is dreadful, but Max finds some other bottles in the cellar called ‘Le Coin Perdu’, which taste rather good. It turns out the wine fetches thousands on the black market and is very rare. Where could it come from? And what’s this unusual patch of vines and soil in a forgotten corner of the vineyard? And why is our resident vigneron so keen to stay on when Max is looking to sell? I’ll let you do the detective work – Scott never really resolves this side of the story. Perhaps he got bored. I certainly did.

The script plumbs new depths too: ‘I want a bottle that tastes like you and a glass that is never empty…’ The writer of the screenplay, Marc Klein, admits he ‘knew nothing about wine or Provence’. One wonders is he’s familar with the art of script-writing either.

Apparently, though, as Mayle recounts, everyone had a great time on location, filming the project. ‘There was never any friction, never any disputes,’ says Mayle. Perhaps there should have been.

A Good Year (opens 27 October)

Dir: Ridley Scott. Starring: Russell Crowe, Albert Finney and Marion Cotillard

Written by Guy Woodward

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A Good Year Parent Guide

Max Skinner (Russell Crow) is having A Good Year in the markets, until he is bequeathed a Chateau in France. Taking time away from the office, the oft-times unscrupulous businessman goes to check out the value of his inheritance. But once surrounded by the castle's charm, the tycoon finds himself toying with the idea of trading in his highlife for a simple, yet poorer, country existence. Unfortunately, viewers will find this sterling premise is tarnished by some content concerns.

Release date November 9, 2006

Run Time: 118 minutes

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The guide to our grades, parent movie review by rod gustafson.

Audiences love to see a grumpy rich guy getting a good lesson on what’s really important, and that’s why movies like A Good Year will be forever popular—no matter how many times we’ve heard the story.

In this telling, a hotshot trader, Max Skinner (Russell Crowe), begins his day dumping bonds and then repurchasing them a few minutes later from the beleaguered market—at a steep discount. The obviously questionable transaction nets him a seven-figure profit, and reinforces his greedy tendencies.

Yet his trip to the Provencal countryside to survey his newfound claim proves to be just the ticket for the hardened business tycoon to take a moment’s pause in his life journey. Although the property turns out to be a bit of a fixer-upper, Max can’t help feeling the charm of the neighborhood or noticing a possible romantic interest in the quaint village up the road. As well, there is a caretaker (Didier Bourdon) who regularly begs him not to sell the property. Max’s uncertainty about what to do with his future only gets worse when he receives news he has been suspended for his earlier trading practices. Suddenly he has even less reason to return to London’s hectic pace.

The usual positive messages about getting life’s priorities straight are evident in abundance in this script. Sadly, so are a collection of profanities, including two uses of a sexual expletive and a finger gesture, along with other crude terms for and conversations about sex.

Artistically, the film does work some magic within the last couple of acts. Max’s recognition of what he chases versus what he really should be reaching for, seem sincere and reasonably believable, especially in a telling scene where his big city boss raves about an original masterpiece he keeps locked in the vault. While the two admire a reproduction of the artwork Max thoughtfully asks, “When do you ever look at the real painting?” The parallel to the protagonist’s life is clear, and sends a valuable message to all of us who keep the best moments of life locked away.

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Rod Gustafson

A good year rating & content info.

Why is A Good Year rated PG-13? A Good Year is rated PG-13 by the MPAA for language and some sexual content.

This movie’s heart is in the right place as far as recognizing the importance of relationships and honoring a deceased relative’s wishes. Yet, the protagonist’s choice of the highlife in London versus the peaceful bliss of a French chateau is hardly a difficult dilemma. The moral value of the movie is further overshadowed by a number of sexual expletives and crude terms for sex, which is unusually high for this film’s rating category. An unmarried sexual relationship is heavily implied and discussions about sex, along with a few revealing outfits, are included. A casual attitude toward children drinking wine is portrayed and a young boy pretends to smoke a cigar. A man is slightly injured while attempting some household repairs.

Page last updated July 17, 2017

A Good Year Parents' Guide

The “money can’t buy happiness” premise is frequently played out in movies, yet how does the media industry itself ironically counteract this message? What real people do you know who truly live by this adage? Is this belief one you feel you can or could adhere to?

The most recent home video release of A Good Year movie is February 26, 2007. Here are some details…

DVD Release Date: 27 February 2007

Taste the bouquet of A Good Year with the movies’ release to DVD (in either wide or full screen presentations). Toasting the film is director Ridley Scott’s audio commentary, while the recipe is revealed in The Making of a Good Year . The original theatrical trailer is also provided. Audio tracks are available in English (Dolby Surround 5.1), Spanish (Dolby Digital 2.0 Surround) and French (Dolby Digital 2.0 Surround), with subtitles in English and Spanish.

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A Good Year Movie Reviews

A Good Year Movie Reviews: A Delightful Tale of Love and Redemption

Released in 2006, A Good Year is a romantic comedy-drama film directed by Ridley Scott and based on the novel of the same name by Peter Mayle. Starring Russell Crowe and Marion Cotillard, this heartwarming movie tells the story of a London-based banker, Max Skinner, who inherits a vineyard in Provence, France, and embarks on a journey of self-discovery and love.

Set against the picturesque backdrop of the French countryside, A Good Year offers a delightful cinematic experience that has been well-received by both critics and audiences alike. The film not only showcases the stunning beauty of Provence but also explores themes of love, family, and the importance of finding joy in life’s simple pleasures.

The performances in A Good Year are nothing short of exceptional. Russell Crowe effortlessly brings Max Skinner to life, portraying a successful but disillusioned man who rediscovers his passion for life through the vineyard he inherited. Marion Cotillard shines as Fanny Chenal, a local cafe owner who captures Max’s heart and helps him find the true meaning of happiness. The chemistry between Crowe and Cotillard is palpable, adding depth and authenticity to their characters’ blossoming romance.

Ridley Scott’s direction is masterful, seamlessly blending breathtaking cinematography with a compelling narrative. The film’s visual appeal is stunning, capturing the essence of Provence’s charm and allowing viewers to immerse themselves in its idyllic landscapes. Scott’s skillful storytelling, combined with the beautiful cinematography, creates an enchanting atmosphere that transports the audience to a world of romance and adventure.

The screenplay, written by Marc Klein, successfully adapts Peter Mayle’s novel into a captivating film. The script strikes a perfect balance between humor and heartfelt moments, evoking both laughter and tears from the audience. Its witty dialogue and well-developed characters make for an engaging and emotionally resonant viewing experience.

Now, let’s address some frequently asked questions about A Good Year:

1. Is A Good Year based on a true story? No, the film is not based on a true story. It is an adaptation of Peter Mayle’s novel.

2. Where was A Good Year filmed? The movie was primarily filmed in Provence, France, capturing the region’s stunning beauty.

3. Is A Good Year a romantic comedy? Yes, the film can be categorized as a romantic comedy-drama, as it combines elements of both genres.

4. Who is the director of A Good Year? The film was directed by Ridley Scott, known for his work on films such as Gladiator and Blade Runner.

5. What is the running time of A Good Year? The movie has a running time of approximately 118 minutes.

6. Is A Good Year suitable for all ages? The film is rated PG-13, indicating that it may not be suitable for younger viewers due to some language and adult themes.

7. Did A Good Year receive any awards? While the film didn’t receive major awards, it was well-received by audiences and critics alike.

8. Can I watch A Good Year on streaming platforms? Yes, the film is available on various streaming platforms, such as Amazon Prime and Netflix.

9. Is A Good Year a feel-good movie? Yes, the film’s heartwarming story and delightful characters make it a feel-good movie worth watching.

10. Are there any memorable quotes from A Good Year? One of the memorable quotes from the film is Max Skinner’s reflection on life: “You know, the ancient Egyptians had a beautiful belief about death. When their souls got to the entrance to heaven, the gods asked them two questions. Their answers determined whether they were admitted or not. ‘Have you found joy in your life?’ ‘Has your life brought joy to others?’”

11. Does A Good Year have a happy ending? Without spoiling the plot, A Good Year offers a satisfying and uplifting conclusion that will leave viewers with a smile.

12. Can I visit the vineyard featured in A Good Year? Yes, the vineyard, Château La Canorgue, is a real place in Provence, France, and can be visited by tourists.

13. Is it necessary to read the book before watching the movie? While reading the book may provide additional context and depth to the story, it is not necessary to enjoy the film.

In conclusion, A Good Year is a delightful movie that offers a perfect blend of romance, comedy, and beautiful scenery. With its captivating performances, skillful direction, and heartfelt narrative, the film is a true gem that will warm your heart and leave you with a renewed appreciation for life’s simple pleasures. So grab a glass of wine, sit back, and let A Good Year take you on a journey of love and redemption.

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The most important things in life happen between the words. Subterranean noise is often louder than dialogue. This is a truth we all experience, but it is challenging to pull off in film, particularly if the subterranean moments are small shifts in consciousness where the character (and audience) understands that nothing will be the same again. A film camera captures thought, and yet so many films seem to distrust this, their air filled with unnecessary dialogue, either exposition or explanation. India Donaldson's "Good One" is extraordinary in so many ways, but its most distinctive quality is how much Donaldson and her trio of actors (James LeGros, Danny McCarthy , and Lily Collias ) trust the subterranean, and allow it to do its work far beneath the surface, between the words.

Chris (Le Gros) and Matt (McCarthy) are lifelong friends, with a relationship like an old bickering married couple. Chris is the responsible one, but his marriage has ended and he's in a state of unwelcome middle-aged upheaval. Matt is a failed actor, openly flailing with disappointment. His teenage son wants nothing to do with him. Chris' 17-year-old daughter Sam (Collias) is a senior in high school, gearing up for college in the fall. She's a good kid and excited about the future. She's looking forward to a weekend hiking trip in the Catskills with her father, Matt, and Matt's son. When Matt's son refuses to go, Sam is without a peer to keep her company. It's too late to back out.

The hike isn't a casual afternoon walk. It's a three-day affair, everyone carrying gear on their backs, hiking long distances over sometimes arduous terrain. Chris and Sam are practiced hikers. They've got all the rituals down. Matt is a buffoon. He's wearing jeans. He packs inappropriately. He can't set up his tent. Chris is rigid and critical. The dynamic between the friends feels like a habit more than anything else. Chris is perpetually irritated with Matt, while Matt cracks jokes. His lightheartedness is a thin veneer placed over misery so deep it's practically existential. "I don't know how I became so untethered," he says in a naked moment.

We see all of this through Sam's eyes. She is perceptive and thoughtful. When the two men ask for her opinion on their grown-up problems, she surprises them with her insight. Something's "off" about all of this, though. Sam is 17 years old, but she's still a kid. These guys are a lot to handle, and one of them is her dad. They forget she's young, they forget that maybe getting tipsy and swapping stories about infidelity isn't something she needs to see. What starts off as a nice time (albeit chaotic with all the bickering) quickly becomes not so nice. In fact, there's a feeling in the air, more and more distinct as the film goes on, that Sam is not safe with these two men she's known all her life.

What happened, though?

"Good One" is intriguing in its disinterest in explanations. The film's refusal to "satisfy" an audience with easy explanations or even cathartic moments pulls you into its atmosphere, dragging you into the weird dynamic which grows more claustrophobic by the moment. Sam has her period and keeps leaving the path to put in a tampon, as Chris and Sam wait in the background, completely oblivious to her extra burden. She's got this whole world going on they have no idea about. The period is an intriguing detail (all the details are intriguing in this beautiful film, including its evocative title), highlighting the biological difference, but also highlighting her isolation. The only women in the movie are back home. Sam is on her own.

I took a friend to the press screening, and we walked home, talking about it the whole way. There was so much to discuss, and I can't help but think it's because what it all "means" is left unsaid. Donaldson does not take the easy way out.

The majority of the film takes place outside. Cinematographer Wilson Cameron (who also directed two of Donaldon's shorts) captures the lush greenery, the way the bodies move through it, the vistas. In some of the more intimate scenes, he utilizes very interesting framing where one head looms in the foreground, and another head peeks out from behind the blockage. The characters are crammed into the frame, but in each others’ way. The sound design is exquisite: the vivid sounds of rushing water, bugs, and birds take the place of dialogue. There are long sequences where we watch the characters hike, set up tents, break down their campsite. The rhythm is soothing, but underneath, things are curdling, shattering.

Most of the film happens on Collias' face. She is an astonishing young actress, where every flicker of thought, discomfort, humor, and shock shows. Her face leads us. The subterranean shift is Sam's, a tectonic plate moving far beneath the surface of her life, marking her indelibly. When Sam exits the forest, she's not the same girl as when she went in. Everything has changed.

Sheila O'Malley

Sheila O'Malley received a BFA in Theatre from the University of Rhode Island and a Master's in Acting from the Actors Studio MFA Program. Read her answers to our Movie Love Questionnaire here .

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Film Credits

Good One (2024)

Lily Collias as Sam

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Danny McCarthy as Matt

Sumaya Bouhbal as Jessie

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India Donaldson

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Movie Review: Delicate and powerful, ‘Good One’ is one of the year’s indie breakouts

This image released by Metrograph shows Lilly Collias in a scene from “Good One.” (Metrograph via AP)

This image released by Metrograph shows James Le Gros,, left, and Lilly Collias in a scene from “Good One.” (Metrograph via AP)

This image released by Metrograph shows James Le Gros, left, and Lilly Collias in a scene from “Good One.” (Metrograph via AP)

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A 17-year-old’s perception of her father is forever altered on a three-day backpacking trip in India Donaldson’s excellent debut “ Good One ,” in theaters Friday .

Something happens. And then something doesn’t happen. But that’s more of the tear point on the already delicate fabric of a relationship that has been deteriorating from neglect for years.

The trip to the Catskills was envisioned as a joint family trip. Chris (James Le Gros) and his daughter Sam (newcomer Lily Collias) planned to go with Chris’s old friend Matt (Danny McCarthy) and his teenage son. But when they pull up to Matt’s place, there’s an argument taking place between the father and son, who retreats to the apartment as Matt stomps to Chris’s car. The teenage son is no longer joining them.

Donaldson focuses her camera on Sam, whose face and deeply expressive eyes tell you everything you need to know: This is weird and it doesn’t feel right. Suddenly she’s on a boys trip with a pair of sad middle aged men who have known one another for decades and whose lives haven’t worked out the way they thought. Both are divorced. Chris has moved on and has a new baby. Matt is still in the early stages of having his life upended. And, boy, do they talk about their failed relationships, one of whom is obviously Sam’s mother. “I couldn’t make her happy.” “She was the one who started doing things first.” “I didn’t want to get divorced.”

Sam rolls her eyes a lot of the time; Other times she responds insightfully. The guys seem to half hear her, but also not. They long ago decided on their own narrative, their victimhood, and Sam is not going to change that with a bit of innocent truth.

Are they always this honest with their disappointments, failures and shortcomings around their kids, you wonder? Or is this a new thing happening on this trip? Chris, in particular, has forgotten that Sam, as worldly and wise as she seems, is still ultimately just a kid. You sense that Sam has already started to realize that her father is as flawed as anyone; but on this trip, his full self is on display.

All of the acting is terrific and so naturalistic that it’s easy to forget that these are actors performing lines that they’ve memorized in front of a camera. Le Gros as the fastidious super camper, who freaks out about his daughter’s safety from bears when he discovers that Matt was eating in his tent, but does little later on; And McCarthy as a failed actor and now failed husband who can be charming and fun but is mostly annoying and gross. But the real breakout is Collias. Her face and presence, empathetic and knowing, carries the whole film in an unforgettable depiction of modern girlhood with all of the dreaminess, awkwardness and boredom.

Donaldson, like Kelly Reichardt , has a keen eye for the smallest of details; A reaction, a wince, even a blank expression that says everything. She also knows when to turn away from the dialogue and the people and give the audience a nature break. One of many great decisions was to have Sam on her period during the trip, something she deals with silently behind trees and bushes as the guys wait impatiently.

At one point the guys are dreaming about what they’d do differently if they had a second chance at life. Matt would be a philosopher. Chris would own a bookstore. What about Sam, they ask. She responds that hopefully she still has a shot at deciding on this life. Indeed.

These stakes might seem comparatively small in a movie landscape of deadly tornadoes, apocalypses and multiverses colliding. But that’s what makes it so special. It is humanity, with all of its beauties and disappointments, as most of us experience it. And it’s one that will likely stay with you for some time.

“Good One,” a Metrograph pictures release in limited theaters Friday, is rated R by the Motion Picture Association for “language.” Running time: 90 minutes. Four stars out of four.

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In ‘Good One,’ a family camping trip is full of emotional switchbacks

Justin Chang

Lily Collias brings a nearly wordless intensity as Sam in Good One. Smudge Films hide caption

Too often, the month of August is regarded as a fallow period for moviegoing, after the big blockbusters of the summer but before the awards contenders of the fall. But the aptly titled new movie Good One is a reminder that there are always smart, interesting films being released, if you’re willing to look beyond the obvious. As it turns out, looking beyond the obvious is something that the writer-director India Donaldson has a real knack for. In just 90 minutes, she tells a three-character story that appears simple enough on the surface, yet it’s so sharp and engrossing that you might not immediately notice the deeper story taking shape underneath.

Lily Collias plays 17-year-old Sam, who’s going backpacking in the Catskills with her father, Chris — that’s the terrific James Le Gros in a too-rare leading role. They’re supposed to be joined by Chris’ oldest friend, Matt, and his teenage son, Dylan. But Matt winds up being the only one to come along; he and Dylan’s mom are recently divorced, and Dylan isn’t taking it well.

Chris himself has been divorced for a while, and he and Sam have a pretty harmonious relationship by comparison. They seem to get along even when they’re bickering, as happens when Chris criticizes Sam’s driving.

Much of the movie consists of Sam listening quietly as Chris and Matt go on and on, reminiscing about old times yet always finding new things to grouse about. Chris, a savvy outdoorsman, can’t stop complaining about how badly Matt has overpacked for a three-day hiking trip.

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While the two men rarely ask Sam how she’s doing or feeling, they seem cool enough where it counts. Chris has long been supportive of his daughter’s queer identity; she has a girlfriend whom she texts during the trip, whenever she can get a cellphone signal. Matt tells Sam that she’s wise beyond her years: Unlike all the other reckless, rebellious teenagers out there, she’s a rare “good one” in his book.

Scene by scene, however, writer-director Donaldson paints a subtler picture of the dynamics at work. At times Good One reminded me of Kelly Reichardt ’s quietly perceptive 2006 drama, Old Joy , which also squeezed a lot of emotional history into a fateful camping trip.

You get the sense that Sam has traveled a bunch with her dad and Matt before, and that she’s long adjusted to her designated role. When the three of them share a motel room on their way up to the Catskills, it’s Sam who instinctively rolls out her sleeping bag, without even being asked, leaving the two beds to the men. And once they reach their campsite, it’s Sam who cooks dinner for the three of them without complaint. The dynamics are complicated. Beneath the men’s easygoing manner, there’s an unmistakable air of condescension toward Sam, a sense that their appreciation of her is more conditional than genuine.

If Sam resents them for any of this, she doesn’t show it, at least not at first. Collias gives a beautifully understated performance; with very little effort, she can register everything from wry affection to barely concealed exasperation. And Donaldson, working with the cinematographer Wilson Cameron, proves as keenly observant as her protagonist. She’s alive to the beauty of the mountains, whether it’s the sight of a majestic canyon or the sound of rushing water. Some of the movie’s slow-simmering tension arises from your uncertainty about what might be lurking nearby, whether it’s a bear in search of food or three young men they cross paths with on the hiking trail.

But Good One isn’t one of those movies in which a journey into the wilderness spirals into horror. The dangers that Donaldson introduces are of a more intimate and perhaps more insidious nature. There comes a moment in the story when everything changes, and it’s at once surprising and unsurprising, all too believable and, in the moment, perhaps a little contrived.

But that hardly matters. What matters is how Sam responds to this sudden shift, and Collias shows her unpacking that response almost in real time, and with a nearly wordless intensity. Good One has the concision of a sharply etched short story, but what happens by the end can’t be easily summed up. Sam won’t soon forget the lessons of this particular trip, and neither will we.

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‘Good One’ Is Pure Brooklyn Sad-Dad Catnip — and a Great Movie

By David Fear

There may not be a movie that has more BDE (Brooklyn Dad Energy) than Good One — you’d have to go to closing time at a Park Slope bar with nothing but The National on the jukebox to find a more concentrated dose of paternal moodiness than writer-director India Donaldson’s debut. The fact that this modest, quiet drama isn’t filtered through a male perspective but that of 17-year-old young woman, who both bears witness to two middle-aged men navigating mid-life crises and sees right through their bullshit, doesn’t make it any less sad-dad melancholy. Nor does this film let these guys off the hook, and it’s the way Donaldson’s revision of the dudes-with-feels-in-forest masterpiece Old Joy as a coming-of-age parable strikes a balance between empathetic and pitiless that makes it both sing and sting.

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Right, that “loss of innocence” bit: There’s a sense of something looming, just past the picture-postcard landscapes and breathtaking views of Mother Nature’s bounty, in the movie’s slow-tick pacing and tiny pivots of people caught in undertows of self-pity. A single sentence drastically changes the tone of both the trip and the movie itself, and the audience is left to sift through the wreckage of what turns into betrayals — plural, not singular. For something so “small,” the ripples left in this remark are gigantic. The movie was always Sam’s from the jump, but so much of Donaldson’s film is generously given over to being Brooklyn Sad-Dad catnip, as these two men wax poetic and bathetic about second marriages, second families, a lack of second chances. Then it completely shifts allegiance to Collias’ character, and you feel as if, like her, you truly see things clearly. A little too clearly. Good One is, among its infinite attributes, an ode to a style of filmmaking that appears to be humble, yet still manages to be devastating and humanistic to its very core. Mostly, it’s just a great fucking movie, full stop.

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Didi Movie Poster: Actor Izaac Wang as a Taiwanese American 13-year-old's school picture

Common Sense Says
Parents Say 0 Reviews
Kids Say 0 Reviews

Common Sense Media Review

Funny, tender coming-of-age dramedy; cursing, teen partying.

Parents Need to Know

Why Age 14+?

Frequent strong language includes "f--k," "motherf---er," "s--t," "bitch," "ass,

Crude conversations about sex via text or in person (e.g., "finally get your d--

Underage substance use (alcohol and drugs) at a party where teens are drinking a

Chris punches a kid who says cruel things to him. He later says terrible things

Brands/products seen include Toyota, MySpace, AIM, McDonald's, Panasonic.

Any Positive Content?

The cast and crew are mostly Asian American. Writer-director Sean Wang is, like

Promotes open communication between teens and parents, including one-on-one shar

Chris' mother is patient and loving. She wants to connect with her son. Chris wa

Frequent strong language includes "f--k," "motherf---er," "s--t," "bitch," "ass," "d--k," "screw," "freak," "schlong," "f-g," "dumb whore," "gay," etc. A character squints his eyes and says "oh me so horny" when pointing at an Asian American child. One character says someone is "pretty cute for an Asian." Bathroom humor includes a boy peeing into a bottle of lotion.

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Sex, Romance & Nudity

Crude conversations about sex via text or in person (e.g., "finally get your d--k wet," etc.). One character touches another's penis through clothes during a "nervous game."

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

Drinking, Drugs & Smoking

Underage substance use (alcohol and drugs) at a party where teens are drinking and using various drugs. A character accidentally swallows a joint after taking a hit.

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Violence & Scariness

Chris punches a kid who says cruel things to him. He later says terrible things to his mother, jumps out of her car, and runs away. A group of friends blows up someone's mailbox as a prank. Characters dare one another to fight, but then one punches the other in the face, saying "he bit my nipple."

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Products & Purchases

Diverse representations.

The cast and crew are mostly Asian American. Writer-director Sean Wang is, like the main character, Taiwanese American and from Fremont, California. Characters are ethnically/racially diverse, and the movie captures an immigrant kid's unique struggles to fit in and please his family. Except for Chris' mom, girls and young women have secondary or background roles. Some characters demonstrate racism, which is portrayed negatively: A character squints his eyes and says "oh me so horny" when pointing at an Asian American child, and someone says a boy is "pretty cute for an Asian."

Did we miss something on diversity? Suggest an update.

Positive Messages

Promotes open communication between teens and parents, including one-on-one sharing of what's going on at school and personally. Explores the difficulties of going through adolescence in the age of social media and the courage it takes to speak up for yourself. Captures some of the truths and challenges of growing up in an immigrant family and community with set expectations.

Positive Role Models

Chris' mother is patient and loving. She wants to connect with her son. Chris wants to belong, have a girlfriend, and hang out with his best friends. He makes mistakes and lies but also learns to appreciate his mother, family, and old friends. Chris' older sister finds him annoying but offers him her support and guidance.

Parents need to know that Dìdi is a coming-of-age drama about a 13-year-old Taiwanese American boy the summer before he starts high school. Set in California in 2008, Dìdi includes frequent strong language ("f--k," "s--t," "ass," and more) in both text and conversations. The script also includes sexual innuendo/commentary ("get your d--k wet," etc.), and a teen girl touches a boy's penis through his pants, but it makes him nervous, and he asks her to stop. Main character Chris (Izaac Wang) is punched in the face during a fight -- for fun -- and another time beats up a kid who was calling him names. Teens drink and do drugs, and, in one scene played for laughs, a character swallows a joint and gets incredibly high. Despite Chris' rash decisions and self-deprecating embarrassment, he ultimately opens up lines of conversation with his mother and learns to be himself. Writer-director Sean Wang's dramedy won two major awards at the 2024 Sundance Film Festival and continues his focus on semi-autobiographical Asian American stories following his Oscar-nominated short, Nai Nai and Wài Pó. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

Where to Watch

Videos and photos.

Didi movie: A close-up of Taiwanese American actor Izaac Wang's laughing face

Parent and Kid Reviews

Parents say

There aren't any parent reviews yet. Be the first to review this title.

What's the Story?

DÌDI follows 13-year-old Chris Wang ( Izaac Wang ) -- Wang Wang to his friends, Dìdi (younger brother) to his Taiwanese family -- during the summer leading up to his first year of high school in 2008. Written and directed by Sean Wang, the story is full of Chris' angst and embarrassment as he awkwardly tries to flirt with his crush, hang out in co-ed friend groups, ingratiate himself with a crew of older skaters who smoke and party, and evade his mother's ( Joan Chen ) attempts to send him to SAT prep classes like the other Asian American teens in his community.

Is It Any Good?

Wang's semi-autobiographical dramedy is a realistic, emotional story of growing pains and immigrant-kid self criticism. Well-acted and thoughtfully directed, the movie has similarities to Eighth Grade and is a reminder that adolescence is as confusing and difficult for boys as it is girls, even in the early age of social media. Young Wang is both hilarious and heartbreaking as the titular Dìdi, who doesn't know how to talk to girls or feel secure in his identity. And Chen is fabulous as a mother whose husband lives in Taiwan while she deals with two kids and her critical, demanding mother-in-law.

There's lots of angst, drama, and second-hand embarrassment in Dìdi , but the movie's moments of levity and humor are clever enough to keep it from getting too sentimental. As in actual adolescence, the screenplay doesn't offer a neat "happily ever after" for Chris, but he does learn several lessons the hard way. Wang's sure-footed direction explores a lot of serious themes in only an hour and a half. This is the sort of film that will remind adults of the mortifying aspects of being 13 but also resonate with any child of immigrants who can recall feeling othered or called "cute for a (insert your cultural identity here)." With this feature, Wang -- who also wrote and directed the Academy Award-nominated short film Nǎi Nai & Wài Pó -- has positioned himself as a rising filmmaker to watch.

Talk to Your Kids About ...

Families can talk about which aspects of Dìdi are universal to coming-of-age stories. What makes Chris' struggles authentic or relatable?

How are social media and screen time depicted in the movie? How is Chris affected by all the time he spends online? Parents: Talk to your teens about boundaries and limits to screen/social media use .

In what ways does filmmaker Sean Wang incorporate cultural themes or what it's like to grow up as a first-generation Taiwanese American?

How would you describe the relationship between the teen characters and their parents? Are these relationships realistic or exaggerated for humor? How does the movie promote communication between teens and parents?

Movie Details

In theaters : July 26, 2024
Cast : Joan Chen , Izaac Wang , Shirley Chen
Director : Sean Wang
Inclusion Information : Asian directors, Female actors, Asian actors, Asian writers
Studio : Focus Features
Genre : Drama
Topics : Brothers and Sisters , Friendship , High School , Middle School
Character Strengths : Communication
Run time : 93 minutes
MPAA rating : R
MPAA explanation : language throughout, sexual material, and drug and alcohol use – all involving teens
Award : Common Sense Selection
Last updated : August 15, 2024

Did we miss something on diversity?

Research shows a connection between kids' healthy self-esteem and positive portrayals in media. That's why we've added a new "Diverse Representations" section to our reviews that will be rolling out on an ongoing basis. You can help us help kids by suggesting a diversity update.

Suggest an Update

What to watch next.

Eighth Grade

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A Good Year
A Good Year is a light snack of comfort-food cinema and Scott's only comedy— not that there are a huge amount of laughs. It's a film from which you'd expect the moon, the stars and the sun ...
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A Good Year (2006)
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In a series of halcyon flashbacks, we watch a 12-or-so-year-old version of Max spending time with Uncle Henry at the chateau during long visits after the death of Max's parents. Though he drifted away from the warm and worldly Henry over the years in his quest for financial domination, Max remembers his times at the small winery as the best ...
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Review: A Good Year. The film suggests not so much the stirring of a soul as Sir Ridley grinding his teeth behind the camera. You know ruthless bond-trader and self-described "asshole" Max Skinner (Russell Crowe) is due for a reminder of life's simpler pleasures as soon as the steely grays of his London office are contrasted with the ...
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Like most ideas hatched after a couple of drinks, it turned out to sound good in theory, look okay on paper (Mayle's book) but is an absolute dog on celluloid. To be fair, Mayle kept his side of the bargain. The book, though not a Pulitzer Prize winner, is an entertaining, mildly engaging page-turner. The plot is simple - a successful but ...
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What happened, though? "Good One" is intriguing in its disinterest in explanations. The film's refusal to "satisfy" an audience with easy explanations or even cathartic moments pulls you into its atmosphere, dragging you into the weird dynamic which grows more claustrophobic by the moment.
Movie Review: Delicate and powerful, 'Good One' is one of the year's
A 17-year-old's perception of her father is forever altered on a three-day backpacking trip in India Donaldson's debut "Good One," in theaters Friday.
'Dìdi' review: Don't miss the coming-of-age comedy that's among ...
In the end, Dìdi isn't just a good coming-of-age movie or a great coming-of-age movie. Dìdi is unquestionably one of the most poignant and very best movies of the year. Dìdi opens in select ...
Alien: Romulus Movie Review
Intensely gripping sci-fi horror with gore, shocks, cursing. Read Common Sense Media's Alien: Romulus review, age rating, and parents guide.
'Good One' review: A family camping trip is full of emotional
On its surface, Good One is about a teen on a backpacking trip with her dad and his friend. But the film is so sharp and engrossing you might not notice the deeper story taking shape underneath.
'Good One' is the Greatest Coming-of-Age Movie of 2024
A young woman goes on a hiking trip with her father and his best friend in writer-director India Donaldson's quietly devastating, truly amazing debut.
Dìdi Movie Review
Funny, tender coming-of-age dramedy; cursing, teen partying. Read Common Sense Media's Dìdi review, age rating, and parents guide.

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