I started viewing this movie because of Toscana, Italy, I wasn't less than amazed by the beauty of its landscapes and sunset but I had a little bit of sour thing at the end, it wasn't what I was expecting, I even thought that the movie wasn't finished until I saw the credit. As I said is good for lunch time when you don't have nothing else to see.

Some people reviewed this movie as too simple, too predictable. I must admit - I initially decided to watch it only for Joshua Jackson (I also thought it would not be more than 5/10). But I was very surprised. Personally, I love the feeling when you're going to watch a movie you know very little about and don't expect much from and then, halfway through it, you know you've found a little jewel. Not too shiny, not too loud, just a simple, elegant masterpiece. This is how I felt watching this film. Yes, it's a bit predictable but that doesn't change the fact that thoughts in the script are beautiful and universally true, the acting is easy and unforced and the scenery is breathtaking. The time passes very slowly and you get the feeling you're on vacation in Tuscany along with he characters, just sitting on a bench or taking a stroll through the fields... If you're a fan of Ridley Scott's Good Year, I'm sure you're going to love this movie as much as I did. Bon voyage!

The score given to this film on IMDb almost discouraged me from seeing it, but I knew Claire Forlani would put on a great performance. I wasn't disappointed.Like many other reviewers have pointed out, this movie lacks explosions and world-saving heroes, big bad conspiracies or someone with terminal illnesses. But it's honest and warm.I wish Forlani would be given more lead roles. She has one of the most expressive faces in Hollywood - count the number of scenes where she doesn't speak a word. (Unfortunately, in last year's Carolina Moon she appeared to have caught the contagious Hollywood disease of anorexia.) Harvey Keitel seems relaxed and comfortable despite - or perhaps because of - this being an atypical role. He played it perfectly.Joshua Jackson was probably weakest, partly because I felt his character wasn't as filled out as it could have been. Having "killed off" his family back in London and giving him a job with poor prospects, it seemed too easy to make him stay in Tuscany. The movie was about Keitel, though, so the producer or director probably didn't want to clutter it with too much going on. Jackson did the job though and supported by a talented cast, it was more than enough.Not a movie to watch if you want to be thrilled or scared or interested in the lives of celebrities, but a good weekend afternoon experience it was for me.

It is predictable, it has a lot of clichés, it doesn't aspire to be even nearer to what would be called a great film, or even a good one - or even a hit -, but its dialogues are fine and truthful, and reveal an experienced knowledge of a writer's craft and soul and suffering. As the comment above put it, it's a film of real people with real problems, apparently common and minor problems to the viewer who expects to extract some titillation out of films - the characters here are not involved in intrigues, in hiding a murder or escape from it -, but problems hard enough for those involved. As we learn somewhere: there is no order of difficulty in problems, one is not "harder" or "bigger" than another. They are all the same. The great psychologist Viktor Frankl, who spent four years in a concentration camp, tells in "Man's Search for Meaning", in an almost candid way, that his terrible sufferings there at the camp doesn't amount to anything bigger than anyone's. He makes a perfect analogy, and with the most frightening element an inmate of a concentration camp could think of: "A man's suffering is similar to the behaviour of gas. If a certain quantity of gas is pumped into an empty chamber, it will fill the chamber completely and evenly. Thus suffering completely fills the human soul and conscious mind, no matter whether the suffering is great or little. Therefore the 'size' of human suffering is absolutely relative".Well, it seems a lot of thinking to draw from such an unpretentious film, but I think in that resides its merits. Keitel's outstanding performance adds a lot to it, it's on a level much higher than the whole production. It's amazing how great actors can have some of their great moments in lesser films, as Keitel here, or as Morgan Freeman unique, out-of-bounds performance in "Street Wise".