Gurlyndrobb While it doesn't offer any answers, it both thrills and makes you think.

Sarita Rafferty There are moments that feel comical, some horrific, and some downright inspiring but the tonal shifts hardly matter as the end results come to a film that's perfect for this time.

Edwin The storyline feels a little thin and moth-eaten in parts but this sequel is plenty of fun.

Cassandra Story: It's very simple but honestly that is fine.

movie reviews Vineyard owner favors associate's son over his son.This movie was hard to grade....the brush strokes were too thick for this to be anywhere near a masterpiece. The story had a lot of potential--dommage.The first hurdle I encountered was the two actors playing the son Martin and the "surrogate son" Francois looked identical...it took me a good 15 minutes of concentrated looking to tell them apart (at first I thought one actor was playing both parts). It takes the energy out of you and is a distracting gimmick more than anything else. The actors tried to use their talents to show the difference but it seemed forced and rushed and over the top. (Yes I am aware this feeds into story)--you are to wonder if Francois is an illegitimate son like the Vineyard Owner himself. One big problem for this cleverness is neither actor looked remotely like the Vineyard Owner. The leftie class theme (an unfortunate common item in French film industry) was totally unneeded but mercifully small.The film has almost the feel and quality of a Hallmark movie or a made for TV item--the sound track which I never notice unless it is very bad or very good grated on me--so minus at least 1 star. The disco scene looks hopelessly dated.I watched it for one reason I wanted to see French country-side--- unfortunately a lot of it was digital wizardry--they can create anything anymore---the fog was impressive.RECOMMEND--

paul2001sw-1 There's a grim tale well-told in 'You Will be My Son': that of an egotistical wine-maker whose love of his craft exceeds that for his son, and to such an extent that he feels under no obligation to hide it. The film pivots around these two points, indulging a sense of love for the craft of traditional wine-making, but portraying the father's behaviour in an utterly unsympathetic light. But the son is a bit too craven to be interesting: he has a mysteriously beautiful wife, and his refusal to leave, and preference to stay around and be bullied instead, is a bit mystifying; ultimately the film perhaps shares with its characters a sense that patrimony is at heart the proper way of the world. The ambiguous ending, however, is well-judged.

cestmoi The lead is a distinctive actor with all the subtlety of the script in this role. The poor beleaguered son is so unsure of his place in the world that his masochism in remaining in his father's universe is barely believable...though his behavior begs for more beatings of a psychological kind. The loyal wife of the junior loves him for reasons unknown to the viewer; under the sheets, perhaps? The once (1960-70) disco scene is resurrected here to hardly any purpose. The manager of the vineyard, dying of cancer, gets the best draw of script which he fulfills with professionalism and dignity, and his practical and loyal wife plays her role beautifully. As to the prodigal would be son, an insensitive cad and gainer well played here. The logic of the script is minimal and the resolution more abrupt and fevered than what precedes it logically allows. Beautiful shots of the vineyard. All in all, this vintage is pas mal but no chapeau.

dbdumonteil With a title borrowed from Kipling ,"Tu Seras Mon Fils" is one of the best French contemporary movies.I have the strange feeling that Gilles Legrand was able,not a small feat,to capture what was great in the old glorious cinema,particularly that of Julien Duvivier , with whom he shares the same pessimism and an unusual depiction of nastiness ,of cruelty ,transferred to the realities of our times.Nils Arestrup,too often cast in supporting parts,gives a terrifying performance of a wealthy man , a viticulturist whose vintage wine he treasures and who despises his son,Martin;He cannot talk to him without demeaning,humiliating him,going as far as to accuse him of causing the death of his mother when they visit her grave ;"you do not belong here;"you're no good at anything" "if you do not know,ask Philippe".Philippe ,the foreman's son ,is exactly the kind of son the father longs for;besides ,Phil's father,is dying of cancer:so why not adopt him and send Martin away from the valuable property?"you change sons as you change your shoes" says the daughter-in-law who desperately supports Martin.The father's game is subtle:when he is awarded the Legion D'Honneur,he takes his new "son" to Paris with him in a luxury hotel (he gives HIS surname to Philippe when he books the rooms),he poses for the press with him by his side ("the newspaper reads "with his son" ,says Phil's mother,they must have made a mistake") Nils Arestrup never overplays but he really makes us believe he is a monster ;the rest of the cast rises to the occasion:Patrick Chesnais ,terminally ill,seeing him take his own son away from him;Valerie Mairesse ,as his wife ,who sees clearer than he does;and the two boys,one very shy with a low self -esteem (two gripping scenes:the self-inflicted wound with the secateurs in the vineyard;the nightmare in which he sees his (monstrous) father trying to drown him in a vat of wine) ;the other one,the fine boy with good prospects, so sure of himself ,who's just back from California where he had a very good job. With an unusually good sense of space (the vineyard is remarkably filmed),a dense screenplay,lines to rival the best of Henri Jeanson,Charles Spaak or Henri-Georges Clouzot,Gilles Legrand blew my mind;Two comments so far !!it would deserve a hundred of them!yes it would!