Brooke Shields finds Christmas spirit in her escapist fantasy on Netflix

Despite some flaws, A Castle For Christmas is a gently disarming, empowering piece of Christmas escapism that's as satisfying as a cup of hot chocolate on a cold winter's night. Director Mary Lambert's romantic comedy centers on a divorcee who, after a public breakdown, buys a castle in Scotland, meets a dreamy duke, and regains her creative vitality. The heartfelt, ambitious sentiments about how it's never too late to write your own second chapter feel genuinely meaningful, and make up for the struggles of settling unrequited resolutions.

Sophie Brown (Brooke Shields) is a successful romantic comedy novelist, having published a dozen books in the popular Emma Gale series. However, the acclaimed author has recently come under fire from her fans for choosing to have her protagonist's lover die – a creative decision motivated by her own bitter divorce after her husband left her for another woman. A breakdown on The Drew Barrymore Show causes her to rethink her creative aspirations and head to Dun Dunbar, a small town in Scotland that is home to the castle where her father grew up. Her father, the groundskeeper's son, had a penchant for telling romantic stories about his childhood, which inspired her future endeavors as a writer. She hopes this trip will allow her to reconnect with her family history and work in anonymity. But when Sophie arrives, she is greeted by many unexpected surprises.

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Not only do the townspeople recognize Sophie and steadfastly support her work, she also learns that the palatial palace of her father's youth is for sale. The only problem is that the wayward owner, Myles (Cary Elwes), a recalcitrant, cash-strapped duke, is reluctant to hand over the keys. He arranges an insidious deal: a 90-day escrow that allows her immediate possession, provided he continues to live there with her during that time, and if she resigns, his possession will be restored. The couple come to an agreement, but Myles is convinced he can get the new tenant to vacate the property quickly. He puts her up in a dank, run-down room and peppers her with threats about maintenance issues like terrible heating, poor plumbing, and shoddy electrical work (which, by the way, never become real problems). Yet his plan to evict her inevitably brings them closer together.

Lambert, along with screenwriters Ally Carter and Kim Beyer-Johnson, injects the film with plenty of heart, charm and exuberance. Genre cliches are used only when necessary. Sophie and Myles' meet-cute is charmingly instigated by Myles' overly excited dog Hamish (played by Barley, a total protagonist). Internal conflict is at the forefront when it comes to the characters' motivations, which are never obscure. Their predictable squabble and third-act “hunt to win her back” are well-earned. While their verbal banter doesn't quite measure up to other caustic screwball comedies, the two engage in a humorous, healthy exchange that stars Elwes and Shields deftly negotiate.

The members of Sophie's inner circle – her knitting club – are given powerful storylines, subtly woven into the film's structure. While gregarious group leader Helen (Tina Gray) remains relatively unchanged, Angus (Stephen Oswald) must cope with the lingering grief following the death of his husband. Innkeeper Maisie (Andi Osho) must forgive her former admirer Thomas (Lee Ross), while Rhona (Eilidh Loan) must discover her free-spirited side.

The filmmakers keep the genre-patented practical jokes and mischief to an absolute minimum, which is both a blessing and a curse. It's a strategy that grounds the fantasy elements in reality while somewhat limiting the vividness of these silly situations. External conflicts are relatively muted. There's little sense of urgency or mounting adversity facing our heroine in writing a creatively fulfilling novel or renovating the castle in time to accommodate the town's traditional Christmas ball and the impending departure of caretaker Myles.

There are no montages of Sophie learning how to maintain the house and the sprawling grounds, which we learn include a garden and a sustainable wind farm. Perhaps she doesn't need to, as she has enough money to make the problems go away. Even the looming threat of Sophie or Myles' ex-boyfriends potentially messing things up – which is heavily implied – is absent. There's also a scene at the inn where a random couple checks in, who are seemingly presented as important figures, but turn out to be nobodies, as they are never heard from again.

Still, the film's merits outweigh its drawbacks. It's refreshing to see a sweet love story about a couple in their 50s. Lambert brings a sure sense of introspection and nuance to the narrative while also giving it an endearing effervescence. With his deep interests and enlightened views on community, artistic integrity and regaining vibrancy in a world that seeks to undermine it, this film is a gift.

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